Metal finials, stand as potent forms of art imbued with profound symbolism across various cultures, including Islamic tradition. Within the Shīʿa Muslim societies, these finials, known as ‘Alams, have served not only as political and military tools but also as embodiments of religious identity through the integration of qurʾānic inscription and Shīʾī advocations. This paper aims to explore the significance of scripted finials from the Safavid era (1501–1736 CE) to their contemporary functions in Shīʿa societies, focusing on their selection, evolution, and societal impact as manifestations of the Qurʾān. In Islamic belief, the Qurʾān stands as the central tenet of the faith, representing the word of God, with immense reverence attributed to its scripture. While writing itself is considered holy, as God articulated in the qurʾānic verse (Q 68:1), “By the pen and what they inscribe.” Consequently, Arabic calligraphy, the visual representation of these divine words, have become the foremost form of artistic expression within the Islamic tradition, (Baer 1998; Blair 1998; Welch 1997; Grabar 1992), imbuing finials adorned with qurʾānic calligraphy with divine significance. This sanctity elevates qurʾānic scripted finials to divine objects, symbolizing support, legitimacy, and victory, through qurʾānic verses like Q al-Naṣr 110:1, Q al-Baqarah 2:255, and Q al- Fatḥ 48:1, which often synonymous with sovereignty. The strategic deployment of these finials emerged as vital components of political and military endeavors, inspiring loyalty and symbolizing righteous causes, particularly during the Safavid era. Through a multidisciplinary approach encompassing socio-anthropology, qurʾānic studies, theological inquiry, and iconographical analysis, this study aims to unravel the societal impact of qurʾānic-scripted finials. I will explore how Shah Ismail I (reign: 1501-1524), the founder of the Safavid dynasty, recognized the power of these symbols and utilized them to assert his authority and promote Shiʿi Islam. By incorporating qurʾānic verses and the names of Shīʿa holy figures like ʿĀlī b. Ābū Ṭālib on Alam, Shah Ismail sought divine endorsement for his rule and fostered a Shīʿī identity among his followers. Furthermore, this paper will delve into Safavid paintings as evidence of the strategic use of qurʾānic-scripted finials beyond mere symbolism. These artworks serve as tangible expressions of Safavid power, prestige, and religious identity. By repurposing pre-existing material culture and transforming them into Shīʿī icons, the Safavids reshaped societal beliefs and fostered positive social change, guiding individuals toward Shīʿī theology. In conclusion, this study illuminates the role of qurʾānic-scripted material culture in shaping political authority and religious identity within Shīʿī Islam, with the Safavid era serving as a pivotal moment in this narrative. Through lavish displays adorned with precious metals and intricate calligraphy, the Safavids proje