Among the complementary decorative elements in sacred places and religious buildings, the use of painting is considered significant. This research aims, from a descriptive-analytical perspective and based on documents, to identify the identity of active painters in the complex of the shrine of ʿAlī ibn Mūsā al-Riżā (the eighth Shiʿa Imām buried in Mashhad) during the Ṣafavid (970-1148 AH), Afshārid (1149-1211 AH), and Qājār (1212-1344 AH) periods. The present study seeks to answer the following questions: Who were the active painters during these periods, and what roles did they play in which areas, and what interactions did they have with the shrine complex? The findings indicate that during the Ṣafavid period, there were eight painters (seven short-term and one permanent). In the Afshārid period, there were three painters (one short-term and two permanent), and in the Qājār period, there were ten painters (eight short-term and two permanent), along with two painting apprentices who collaborated with the shrine complex. In all three periods, the painters of the shrine may be divided into two main categories: those responsible for conservation tasks such as groundwork, surface covering, and preliminary coloring, and those responsible for creating Islamic-geometric patterns with various colors and sometimes gilding.