In most of the studies that have been conducted so far on the subject of the seven principles,These principles have been defined by seven motifs or seven decorative styles, although there are many ambiguous points in presenting these definitions. In this article, an attempt has been made to answer the question of why the Seven Principles were formulated as a desirable artistic expression in the era of Shah Tahmasp Safavi, and to address the fundamental question of what is the difference between the concept of "principle" and "motif and style"? The purpose of this article is to examine the connection between the seven principles and the concept of "Asl Sharif" in Kalam Imami. On this basis, while adopting a historical approach and relying on a descriptive-analytical method, the collected data has been analyzed using a library study method. The results of the studies show that the seven principles beyond the shape and color relationships governing the repeating visual elements (Motif) and the rules and structure regulating these relationships (style) refer to deep meanings and concepts. Basically, the formulation of the seven principles in the Safavid era of Shah Tahmasab and at the time of defining the national identity based on the Shia discourse is also based on these semantic aspects. The comparison between the hidden semantic aspects in the two principles of Abri and Fasali with the two rules of "Aql" and "Naql" in Kalam Imamiyyah shows that "Aql" and "Naql" have influenced the formulation of these principles and by adjusting the formal relations, "Motif" and "Style" have been promoted to the position of "principles".