This paper investigates a Quranic banner, Rayat-e-Nasr Ayat, and its history and function as a Shia emblem in Safavid paintings from the 16th to the 18th centuries. Rayat-e-Nasr Ayat, known as the “victory banner,” is inscribed with the three victory verse inscriptions from Quran. Safavids politically added Shiʿite holy names to those banners as a supplication or invocation to distinguish them, combining their religious slogan and a Shia emblem. This study elaborates on the importance and necessity of Quranic iconography in Safavid painting as a record of historical, theological, ethnographical, and material cultural studies. Despite this importance, limited studies exist on the Quranic inscription on Shia iconic paintings (e.g., Al-Khamis. 2007),1 or (Rajabi. 2016).2 However, many of these paintings meticulously explored in different way as a cultural and religious visual evidence, while the banner in Safavid paintings has never been the subject of religious study.3 I will achieve these goals through an interdisciplinary methodology using formal or stylistic analysis as a pre-iconographic approach to study visual aspects of Rayat-e-Nasr Ayat to open the conversation and introduce the objects. Then, I use theological and historical analysis to consider the Quranic impacts on Shia religious icons like the Rayat-e-Nasr Ayat toward a discussion of Shia belief in protection and assistance from Rayat-e-Nasr Ayat in war and religious processions. I argue that the victory banner probably originated from Shia belief in the victory verses and their contribution to the Prophet's victorious battle of Mecca. Furthermore, I will employ linguistic and hermeneutic theories to offer some strategic insights into studying those inscribed banners, especially for examining the internal structure of belief in Quranic verses and to show the interconnection between the Quranic inscription and language. Last, with religious iconography, I will explore the symbolic meaning of Rayat-e-Nasr Ayat in Shia society. 1.Al-Khamis, U. Khusrau Parviz as Champion of Shiism? A Closer Look at an early Safavid miniature painting in the Royal Museum of Edinburgh. In B. O'Kane (Ed.), The Iconography of Islamic Art: Studies in Honor of Robert Hillenbrand (pp. 201-208). Edinburgh, UK: Edinburgh university press. 2007. 2. Rajabi, f. (2016). Jelveh Honar Shi'i dar Negareh-haye Asre Safavi. Tehran: Soureh Mehr. 3. Shayesteh-Far, M. Shi'ah artistic elements in the Ti'murid and the early Safavid periods: Book illustrations and inscriptions. Tehran: Moasseh-e Motaleate Honar Islami, 2005. Also for further view look at: Khosronejad, Pedram. The Art and Material Culture of Iranian Shi’ism : Iconography and Religious Devotion in Shi’i Islam. London ;: I.B. Tauris, 2012.