Comparing the paintings of the Safavid period with former schools shows that the Safavids, following the assimilation policies of the government, were looking for the trends of assimilation of the society by adopting culture through clothes, instruments, and manners. Such assimilation two thousand years after the achaemenid assimilation is unique in Iran. Also, centuries after the Sassanids, assimilation did not occur with the official single religion. During the Safavid era, when Iran was politically unified to some extent and the official religion was Shia, this point was also reflected in the appearance of the people. However, this social change was less felt in the provinces and cities due to the distance from the center of power, and this issue is evident in the study of the paintings of the “state” and “courtly” schools of the Safavid era.In this article, an attempt is made to investigate the process of “assimilation” in the Safavid society by referring to the visual sources of the schools of Herat Teimuri, Tabriz II, and the state school of Estrabad during the Safavid period.The current research is based on an analytical approach and library studies with reference to historical texts.The investigations obtained in comparing the pictorial resources of the Herat school, as a pre-Safavi school, the court school of Tabriz, and the state school of Estrabad as two painting schools of the Safavid period, show that the process of “homogenization” in the Safavid society, as opposed to “multiplicity” before It has led to the formation of a trend and a general tendency to pretend to be uniform and united in terms of clothing and even body language.