Inscription is the most important decorative element in Islamic architecture. Calligraphy in the inscriptions of Timurid ear is decorated with arrays to deliver its message along with the sense of pleasure and reflection. The main purpose of this study is classifying these inscriptions based on the primary goal of their implementation. The author tried to answer these questions: what are the different types of Timurid architectural inscriptions based on the primary goal that is hidden in their design? What are the form and content specifications of these inscriptions? What kind of changes has happened in them? The research method was historical and Oleg Grabar screening approach to classifying calligraphy experiences in Islamic Art was used. Data evaluation indicated that the Timurid architectural inscriptions can be divided into three types of readable, covering and small decorative ones. The most prominent feature of the Timurid inscriptions was the function of dual (mother and baby) inscriptions using Thuluth and Kufic calligraphy, the widespread use of Banaei Kufic inscriptions on buildings, inventions in small decorative inscriptions and the widespread usage of cobalt blue and turquoise. The calligraphy type and the overall composition are varied in simpler and more basic forms early this century in Samarkand era to its more delicate, sophisticated, curved forms in the middle and end of that era in Iran. The widest surfaces covered by covering inscriptions appear in the monuments created by Timur and Ulugh Beg. The content of these three inscriptions, including verses and hadiths, phrases in praise of the Lord and the religious men, or in the emphasis on the supreme leader's position of king on earth and the mortal nature of life and the building information.
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