In the Iranian mentality, the garden has an all-encompassing image; in such a way that the ideal garden has penetrated almost all the arts and has been proposed as a part of the cultural identity of Iran. The Persian garden is one of the manifestations of Iranians' belief in the promised paradise, and this factor has highlighted the presence of pardises in works of art. For this reason, different types of Iranian art have paid special attention to the representation of the Persian garden. Iranian carpets and painting are two areas that have dealt with this issue abundantly. In this paper, the structural design, role and composition of garden carpets and paintings in the Safavid period and their relationship with the structure of Isfahan city gardens and Kashan Fin Garden have been studied. In this way, the effect of garden design and its elements in these two visual areas can be understood. Accordingly, the purpose of this study is to answer the following question: What effect did the structural pattern and components of the Iranian garden have on the design of carpets and paintings in the Safavid period? And what are the commonalities and differences between the Iranian garden, carpets and paintings? To find out how these three fields of art have modeled on each other. The necessity and importance of this issue is in order to explain the correct principles used in three different artistic aspects and their impact on each other in a historical period. In this way, the separation of these three fields of art in the contemporary period is prevented and they are linked to each other and their identity and originality are preserved. This research is a qualitative research with a comparative approach. The method of the present study is descriptive-analytical, and information analysis has been done inductively. Research information has been collected through library studies and documentary methods. The statistical population of the study was selected from Iranian gardens, garden carpets and paintings of the Safavid period. The statistical population of this research consists of Persian gardens, garden carpets and paintings of the Safavid period. From each of them, five items were selected as the sample population. Four samples of gardens from Isfahan and one from Kashan; four samples of garden carpet from Kurdistan (northwestern Iran) and one from Kurdistan and all samples of paintings from the Safavid period are randomly considered for analysis. The findings show that the motifs and form structure in the garden carpets and paintings of the Safavid period have the same design, role and spatial geometry as the Persian garden. In most carpets and paintings, the use of geometric principles, the pattern of four gardens and the harmony between the motifs have caused the manifestation of the Persian garden in the carpets and paintings of the Safavid period. The results also show that the promotion of garden design in carpets and depicting the garden in paintings has caused nature and its motifs, such as trees, flowers, birds and animals, to be used more to get closer to the concept of paradise. The pattern of four gardens, the square distance and the openness of the main landscape in a rectangular shape in the Persian garden have been observed in the design of garden carpets and paintings. Considering what is in the main structure of the Iranian garden design and comparing it to that of painting and garden carpets, we conclude that the composition of the structures and elements used in the two areas of painting and carpet weaving are similar and corresponds to three types of structure and geometric principles of the Persian garden (ie, uniaxial, two axes perpendicular to each other and three parallel elongations). The only difference is in the way the elements and motifs are displayed by the artists, which are usually displayed in two dimensions in garden carpets and generally in two and three dimensions in paintings. It is hoped that the use of these patterns and principles in the contemporary period will also pave the way for artists.