Religious buildings have always been one of the main components of Islamic cities, serving as the most prominent architectural elements that define the identity of Islamic cities. Due to their religious significance, these structures hold a special place in the historical fabric of Islamic cities. As such, some of the richest designs and decorative forms, especially in brickwork decorations, are found in these buildings.  Decoration is a fundamental aspect of Islamic architecture, with a substantial portion of its style dedicated to embellishment. One notable example of such heritage is the shrine of Imamzadeh Ishaq (PBUH), also known as Imamzadeh Noor (PBUH). This structure features intricate inscriptions, brick muqarnas from the Seljuk era, and a wooden door dating back to the Timurid period on its exterior façade. It is said that Ishaq, the son of Musa ibn Jafar (PBUH) and the brother of Imam Reza (PBUH), intended to migrate to Khorasan. However, he was martyred during a chase in the region of Esterabad (modern-day Gorgan) and was buried there. Today, Imamzadeh Ishaq (PBUH) is considered one of the spiritual and cultural treasures of Gorgan. Out of respect and reverence, the local people refer to him as Shahzadeh Ishaq. Since the 6th century AH, they have constructed a beautiful mausoleum in his honor. The oral traditions passed down through generations in Gorgan are filled with stories highlighting the people's deep devotion to Imamzadeh Ishaq (PBUH). They recount instances of a radiant light emanating from the shrine to the heavens, a phenomenon repeatedly narrated by their ancestors. This is why the locals also refer to him as Imamzadeh Noor (PBUH), or the "Illuminated Imamzadeh." According to cultural heritage documents, the shrine of Imamzadeh Ishaq (PBUH) is officially registered as a national heritage site under number 346. In 2005, archaeological excavations were conducted north of the shrine, uncovering artifacts from the late Sasanian era, the early Islamic period, and the 3rd to 7th centuries AH. These cultural findings included architectural remains, fragments of glassware, pottery, and other objects. According to Gorgan's cultural heritage records, the shrine's structure features a dodecagonal (12-sided) plan with triangular projections extending outward from each vertex of the exterior sides. These projections continue upwards to the top of the façade. Each side measures about two meters from the outside and seven meters from the inside, with the height of the structure reaching eight meters to where the roof begins. For centuries, the courtyard of this shrine has been one of Esterabad's main cemeteries and the final resting place of many prominent figures of the region. The gravestones, some dating back 400–450 years, indicate that this cemetery has been in use for at least 600 years. These historical gravestones are now preserved in the Gorgan Palace Museum. The inscriptions on the shrine's wooden door and tombstones have led to various speculations about its construction date. However, current findings suggest the shrine was built during the Seljuk period. To address the research question of this study, the external decorative elements of the Imamzadeh Ishaq (PBUH) shrine were analyzed and examined. The findings reveal that the external surfaces of the shrine are adorned with brick decorations featuring diverse patterns, including floral designs, geometric motifs, and relief work. The brickwork’s intricate patterns, particularly the geometric designs, are consistent with decorative styles used in Seljuk-era mosques and minarets. Moreover, the decorative inscriptions and muqarnas work on the shrine demonstrate a harmonious balance, symmetry, and an interplay of positive and negative spaces. These elements reflect principles of aesthetics meticulously adhered to by the artisans. The finely detailed brick decorations highlight the craftsmanship and mastery of the builders, who breathed life into a seemingly simple structure with the creative use of bricks. Additionally, the shrine houses a pair of antique wooden doors, renowned for their stunning carved details. The doors feature exquisite floral and arabesque motifs, with a medallion-like central design and carved inscriptions along the frame. Dated to 867 AH, these doors are remnants of the Timurid period. The intricate craftsmanship involved in their creation demonstrates a blend of technical skill and artistic vision. The symmetrical designs and predetermined patterns on the doors further emphasize the aesthetic sensibility of the artisans. The unique decorations of these doors not only enhance their historical value but also provide insight into the thoughtfulness of their creators. Every aspect, from the technical construction to the choice of patterns, was carefully planned, making these doors significant works of art in their own right. This research aims to highlight a segment of Iranian-Islamic art, emphasizing the importance of preserving and reviving such architectural traditions. By drawing attention to these cultural treasures, we take a step toward enriching and reclaiming the authentic style and identity of Islamic-Iranian architecture on a global scale.