Nomadism is a way of social life that is specific to nomadic societies; people who pursue their lifestyle by constantly moving from one place to another. Meanwhile, housing, as a vital link between humans and the environment, has always had a special place in the culture and needs of this group. The shelter of these tribes, known by titles such as chador or tent, as a temporary, portable and fully functional structure, has played a fundamental role in meeting their biological needs from ancient times to the present day. Also, the diverse representation of this element in Iranian paintings undoubtedly indicates its importance and high value in the history of art and culture of this land. The purpose of this research is to investigate the type, variety of designs and colors in illustrated tents, whether they are functional or decorative in the paintings, considering the type of depiction of each of these examples in relation to other visual elements, as well as the evolution of tents in terms of design and color in the paintings, and to answer the questions of how the geometric structure and basic components of illustrated tents are represented in historical paintings? What are the characteristics of the variety of designs and colors used in tents? What are the characteristics of tents in terms of the type of use in paintings and how they are used? What is the actual type of tents (functional or decorative)? Which is answered by the descriptive-analytical method of paintings. The method of collecting documentary information. The statistical population includes 27 paintings from three books: Haft Aurang Jami, Shahnameh Shah Tahmasp, and Nasuh Motraqchi. A study of the paintings shows that tents were mainly used as temporary shelters, although in some cases they were also used with symbolic designs to show the status and superiority of the tent owner. According to what emerges from the paintings, tents often had a practical aspect and were used as temporary shelters, although in some cases they were displayed for decoration or to refer to a specific issue, such as the superiority and importance of the person to whom the tent belongs, and were displayed symbolically and with specific designs. Finally, according to the studies conducted, it can be acknowledged that the tent and the tent in Iranian culture and art have a rich and multifaceted history in terms of design, color, and type of use. Today, by recognizing their aesthetic elements as well as other practical and decorative aspects, not only can we help better understand the history of traditional Iranian art and architecture, but it can also inspire the creation of new ideas and the development of modern living environments with practical and aesthetic capabilities.