The art of bookbinding as one of the arts and book publishing books in the history of Iranian civilization has always experienced diverse changes in the direction of the spread of culture and science and the quality of its attractive and artistic construction and the preservation of scientific books and most importantly the civilizations dialogue. These developments continued from the first Islamic centuries to the end of the 12 th AH century / 18 th AD century, and have been strikingly unique in terms of the invention of gluing techniques, the use of diverse materials and materials, and the creation and execution of subtleties. One of the best prominent examples of Iranian book-covers - which represents the prestigious presence of its artists in Far East Asia - is an excellent collection of Iranian Quranic manuscripts in the Museum of Islamic Art in Malaysia. This research - which is done through a descriptive and field-based review of existing versions in Malaysia - tries to examine the most important developments in the art of Iranian bookbinding art in various historical periods and to analyze the exquisite extras of the Iranian Quranic manuscripts in Malaysia in terms of technical features and artistic and historical values for civilizations dialogue. Persian masterpieces The Qur'anic covers in Malaysia is diverse and varied in two categories: Lacquer and leather. The Laquare bookbindings aer from the Safavid to the end of Qajar, such as "Gol-O-Barg" (Flower and leave), "Gol-O-Boteh" (Flower and Bush), "Gol-O-Morgh" (Flower and Bird), "Katibeh" (Calligraphy) and "Toranj" (Medallion). The most of Leather covers are the type of "Sukht" (Burned), "Moarraq" (Mosaic) and "Zarbi" (Stamping) and their descendants related to the Safavid and Qajar periods with arranged shrine designs such as "Islimi" (Arabesques) and "Hatayi", "Gol-O-Barg" (flowers and leaves), "Shamseh", "Toranj" (Medallion) and "Katibeh" (Calligraphy).
