Among the Iranian artistic works and branches, the metal works have been reflecting ritual and denominational views throughout history in the discussion on traditional arts. Here, the metal works of the Safavid period are of great importance, because that period is among the magnificent eras of Iranian art, and because it created a monolithic state and promoted the Shiite denomination. This study aims at revealing the basic evolutions and transformations, embellishments and themes of the metal works in that era with ‘religious’ and ‘national’ parameters. Thus, it seeks to answer two main questions: first, “Why did the artists in the Safavid period want to use the names of twelve Imams in making metal things for expressing religious themes and social approaches?” And second, “In evolution of which formats did the Safavid rulers want to promote the Shiite themes and elements in the society by supporting artists?” This article has been written using a descriptive-analytical method and field resources of libraries and museums. The results of this investigation, in addition to cultural and artistic prominences as well as the Shi‘a themes in the inscriptions of that era, shows the typology and application of various types of plant embellishments, adjustment to previous eras, and using Farsi language and script in the Safavid period; and accordingly, the present study is founded on the hypothesis that the generalities of the structure of metal works in the Safavid period, though filled with aesthetic elements deserving propagation, is captured by the ideological thought, which must be explained in an apparent review.