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The Oriental culture, literature and myths have long been the focus of Orientalists and Western scholars. William Morris is a British poet who was interested in Persian poetry and literature. He was familiar with Persian culture and literature, and wrote “The Man Who Never Laughed Again” based on “The Black Dome” in Nizami Ganjavi’s Haft Peykar. He imitated the character, atmosphere of the story, the symbols, the colors, the costumes and other elements of the story from Haft Peykar. Haft Peykar or Haft Gonbad is one of Nizami’s lyrical poems that symbolically portrays the spiritual transformation of King Bahram of Iran. Bahram proposed to marry seven princesses from seven countries, and made them the first ladies of the seven palaces. He was the guest of one of them every night to spend time and rejoice when he heard stories. Finally, at the end of the week, when he was the guest of the Black Dome, Dorsati the Persian princess told a story about the Persian culture that influenced Bahram. This research, like other researches, has examined the impact of Nizami’s “The Black Dome” on William Morris’ work through the analysis of the content of the texts. It is based on library studies. In conclusion, this research is going to prove that William Morris’ work in terms of structure and content, like a refreshing seedling, is originated under the shade of the thick tree of Haft Peykar, then it has borne fruit in European literature.

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Persian carpet weaving is one of Iran’s most famous industries that has attracted the world’s attention to Persian arts through the centuries. What above all, have given prominence to Persian carpet as a beautiful work of art are the pattern and its composition in a two-dimensional space. The diversity of patterns, use of deep and beautiful colors, good composition, harmony of colors, delicate and poetic composition are among the most outstanding features of Persian carpet. Industrial advancement and development of transportation in the 19th century led the western explorers to travel eastward making them acquainted with the cultural heritage of these civilizations. William Morris, the leading thinker and artist of the British Arts and Crafts Movement is among the first to conduct a research on Persian carpet’s patterns and designs. In this paper, we are proposing a semiotic approach to the transaction between Persian artists who made beautiful and ever-lasting carpet designs and William Morris as a pioneer of Pre-Modern Movements in Europe, who studied and recognized the underlying principles of Persian art (mostly carpet), and applied them in a creative way to his own remarkable hand-made designs.