A particular type of inscription used in Islamic art and architecture has been identified as “figural inscriptions,” in which the ends of letters transform into abstract. These inscriptions represent one of the most distinctive manifestations of the interaction between calligraphy and visual imagery in Islamic artistic traditions. Although figural inscriptions have attracted the attention of a limited number of scholars, they have generally remained a marginal subject in studies of Islamic architectural decoration. The main issue is that, in studies of Iranian architectural ornamentation, figural inscriptions have rarely been examined, and even within the more widely studied Ghūrid monuments, several examples have remained unnoticed. Consequently, the existing scholarship does not provide a comprehensive understanding of either the geographical distribution or the chronological development of these inscriptions. This lack of systematic attention has resulted in the omission of several monuments that preserve significant examples of abstract figural inscriptions and has limited the understanding of their artistic and symbolic functions within the broader context of Islamic architectural decoration. Another important consideration is that most of these inscriptions are highly abstract, making it difficult to distinguish them from vegetal scrolls or geometric extensions. In many cases, the anthropomorphic characteristics are intentionally concealed within decorative extensions of letters, creating forms that may easily be interpreted as purely ornamental motifs. This high degree of abstraction has contributed to the fact that many examples have either been overlooked or misidentified in previous studies. As a result, distinguishing between abstract figural forms and conventional ornamental patterns requires careful visual analysis, comparison with related examples, and close examination of the formal characteristics of the inscriptions. Nonetheless, the views of Hillenbrand and other scholars discussed in this study have served as the conceptual foundation of this research. Their interpretations provide an essential framework for understanding the relationship between calligraphy, ornament, and figural representation in Islamic art and offer valuable theoretical perspectives for the present investigation. This article aims to identify previously unrecognized monuments containing abstract figural inscriptions and, through this process, to trace the formal and conceptual development of such inscriptions from the 3rd to the 6th century AH (9th–12th century CE). Rather than focusing exclusively on well-known monuments, the study seeks to broaden the corpus of evidence by examining neglected examples and reassessing previously published materials. In doing so, it attempts to clarify the continuity and transformation of this decorative tradition over several centuries and to place newly identified examples within their historical and artistic contexts. Accordingly, the following questions are addressed: How did the formal characteristics of figural inscriptions evolve over time? What meanings did their use convey, and in which categories of buildings were they employed? Addressing these questions contributes to a better understanding of the development of Islamic architectural ornamentation and the role of anthropomorphic elements within the broader tradition of Islamic epigraphy. The research adopts a descriptive-analytical method, with data collected through both documentary and field-based approaches. Sources include published images, digital archives, the display collections of the National Museum of Iran, and direct field observations. The integration of documentary evidence with field investigations has made it possible to compare previously known examples with newly identified monuments and to evaluate their stylistic characteristics within a broader chronological framework. Published visual documentation, museum collections, and direct architectural observations have collectively provided the basis for identifying formal similarities and differences among the inscriptions while minimizing the possibility of misinterpretation arising from isolated examples. The findings indicate that the use of figural inscriptions was not limited to any specific functional category of buildings. Instead, they appeared in different architectural contexts, suggesting that their application was not determined solely by the function of a monument but also by artistic preferences and decorative conventions. Their formal evolution shows a gradual reduction of abstraction over time, with only certain examples preserving traces of abstract anthropomorphic forms. This gradual transformation reflects changing approaches to the integration of calligraphic and figural elements within architectural decoration while demonstrating the persistence of certain visual conventions throughout the period under investigation. The inscriptions do not convey unique or exclusive themes; however, Qur’anic phrases referring to the presence of the righteous and the promise of paradise frequently appear. These recurring textual themes suggest that the inscriptions functioned within established religious and decorative traditions rather than communicating messages exclusive to figural compositions. Their significance therefore lies primarily in the artistic treatment of the script and its visual transformation rather than in the textual content itself. Finally, five monuments are introduced in this study for the first time as containing abstract figural inscriptions. The identification of these previously unrecognized examples expands the existing corpus of figural inscriptions, contributes new evidence for the study of Islamic architectural decoration, and provides a broader basis for understanding the formal and conceptual development of abstract figural inscriptions in Iranian architecture between the 3rd and the 6th century AH (9th–12th century CE).