Muraqqas, as the earliest pictorial records of Iranian art., not only served their primary function of collecting and preserving scattered artworks but also provided significant insights into the practice of margin-making and the role of frames in the construction of muraqqas. This article seeks to explore the typology of margins and interpret the relationship between margin and text in this historical artistic genre through the analysis of an atypical margin. A rare margin in the Muraqqa of Amir Ghiyath Beg demonstrates that This visual element can extend beyond its original functions of protection and decoration. From one perspective, it can serve as a complement to the artwork's narrative, and from another, it can function as an independent piece, articulating its own themes and reflecting intercultural interactions. This study employs phenomenological perspectives on imagination to address the following questions:  Does the compiler’s artistic vision play a role in selecting or creating a margin for the artwork, or is it simply a decorative addition resulting from chance?  Furthermore, the investigation delves into how the audience's imagination navigates between the processes of meaning discovery and meaning construction, unknowingly engaging in the phenomenology of imagination.  The article operates under the assumption that the compiler, while adhering to established traditions, exercised creative freedom in interpreting and arranging the artworks. Sometimes they commissioned the creation of a narrative in the form of a margin or annotation, which then served as a stimulus for the audience's imaginative meaning-making. At other times, the decorative aspect dominated the framework of the artwork.  The margin examined in this article reveals that the author's creation or selection of a margin, as well as the audience's engagement with the margin and the artwork through mental re-creation of images, results in personalized knowledge. In addition, Elements from other cultures have contributed to a form of imaginative design, rather than merely repeating predetermined rules. elements borrowed from other cultures can create a dynamic interplay of imagination rather than a mere repetition of predefined rules. This article takes a phenomenological approach to imagination, is theoretical in purpose, and employs a descriptive-analytical methodology.