otifs differences and similarities indicate artistic and historical characteristics of different art schools. Special principles had been employed for artistic works at each historical era which indicate the art school qualities. Wall painting widely boomed, in Isfahan School, due to necessity of palaces, public and private monuments arrangement. Hence wall painting changed to an indispensable part of architecture.
It sould be considered that Aligapoo, Chehel Sotoon and Hasht Behesht were constructed at the same historical era. Present study tries to examine arabesque designs of these three palaces to play a role in clarifying and deepening theoretical issues related to Isfahan School. According to what was mentioned earlier using comparative-analytical research method, present investigation tries to divide and compare arabesque motifs according to this motif development and special characteristics in all three palaces. Moreover present investigation tries to answer the question that: do identified arabesques in these three palaces inscribed in the same form. And in what palace they have been formed in exclusive form and what changes have occurred to the nature of these motifs and What was the influences of time on the designs?
Results obtained from Field researches, and their analysis from design, color and internal construction of arabesques analysis indicate that, the existence of such motifs has been diminished in Aligapoo, Chehel Sotoon and Hasht Behesht palaces, respectively and the more we go away from start date of this school the less arabesque motifs have been used by artists, tending toward Khatayi designs. To replace the span and abundance and diversity of the arabesque design in the House Alighapoo well- known and rarely seen in heaven, Hasht Behesht palace.  
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