In the Safavid era, fabric motifs reached their high and valuable level, and the weavers, with the motifs they created, were looking for the occurrences of everyday events, history, identity, culture and religion of their timeIn general, Safavid fabrics consist of two periods: the first period was the time of Khwaja Ghiyath al-Din, who patterned small designs on the surface of the fabric and created harmony in the patterns throughout the fabric. The second period, the patterns used in the fabrics were inspired by painting and the school of Reza Abbasi, and the designs were larger than the previous period, and the boundaries between these large-patterned designs were filled with secondary designs such as plant motifs. Therefore, by knowing the patterns and meanings hidden in it, one can understand the hidden secrets. Iconology is a method or approach to interpreting a work of art. Iconology has three stages: description, recognition, and interpretation. In general, the science of illustration, or iconology, as an approach, deals with the matter to which the work belongs. It is reconstructed and therefore does not only include text and writing, but also includes the artistic context. From Panofsky's perspective, when dealing with the content of a work, perception and understanding of its meaning occur in three stages: pre-iconography (description stage), iconography (recognition stage), and iconology (interpretation stage). The main goal is to reach the effective components in the iconology of human motifs of Safavid fabrics of Yazd. The main question is, what are the hidden and visible layers of human motifs in the Safavid fabric of Yazd based on the iconology approach? In the Safavid period, human motifs, which are seen in various works of traditional art in a broken and summarized form, are used less than other motifs, and the human motif is rarely seen in a broken form. In some traditional works of this period, the human motif is designed as an object, usually shown from the front. It should be noted that the human motif in Safavid fabrics is sometimes based on old stories. Also, hunting motifs and everyday events are usually reserved for the first and second periods of Safavid weaving. In the Safavid period, human motifs, which are seen in various works of traditional art in a broken and summarized form, are used less than other motifs, and the human motif is rarely seen in a broken form. The current research is qualitative with descriptive, historical and analytical method and using the iconology approach in three stages of description, diagnosis and interpretation on three Safavid fabrics belonging to the city of Yazd and with the method of collecting library information. In order to identify and recognize the main drawn icon, related visual and written sources have been examined. In Safavid cloth weaving, it found a wider scope and the activists gained more economic, political, cultural and symbolic capital by using new facilities and abilities to gain their political, social and cultural legitimacy. The role and attention of supporting institutions in nurturing artists and their activity (which was clearly influenced by the authority of the Safavid kings in various social roles) to the field of art and artists, and also to the development of facilities and the attention and desire of other art professors to the precise designs of cloth, made cloth weaving to have a special rank in the field of art. In this era, the royal families and people in the higher classes were the main supporters who put a lot of emphasis on increasing the quantitative and qualitative level of artistic productions. The importance of fabric designs in this period for the kings was to such an extent that the rulers had a special supervision over this art. In general, human motifs based on their placement in the fabric, gender and clothing are a symbol of love and affection. In addition, it is not based on any specific traditions and is based only on the story of Khosrow and Shirin in the Khamseh Nizami.