Document Type : Research Paper

Authors

• Nasim Hasani Darabadi ¹
• Zolykhah Azhdariyan ²

¹ Senior Art Research Student, Art Research Department, Faculty of Art and Architecture, Tehran West Branch, Islamic Azad University, Tehran, Iran

² Assistant Professor, Art Research Department, Faculty of Art and Architecture, West Tehran Branch, Islamic Azad University, Tehran, Iran

Abstract

One of the methods for reading the image is the Panofsky method, in which iconography is linked with iconology, and a journey into the depths of Iran's painting art, which is a window to culture, ancient history, myths and beliefs of Iranians, can be traced. In the study of the position of man and objects used in the images of the three stories of Zahhak, Rostam, Sohrab and Bijan from Tahmazabi's Shahnameh, mace Gaussar’s is observed and this question arises in the mind why the ghosts in their hands are bulls, and the monographs Safadi has a message in creating it. In this paper, we have tried to find a meaningful and meaningful image and function in the image with a comparative look and using the Panofsky pattern. The information in this article is collected by the library method and its research method is analytical-descriptive. Finally, there are two glances about the Gaussar’s Mace. The first  weapon that will help the warrior in the battle and prevent the enemy's infiltration. Second, because Friedman draws it down and orders the blacksmiths, it refers to the bronze age and iron and rich resources in our land. Regarding the atmosphere of the Safavid era, the painter also sees himself in the epic space of the poet, as if the pen was in his hand as a wand, and he drove the balloon to the ground and knocked down the ground to wake the crowd.
 

Keywords

• Iconography
• iconology
• Shahnameh of Shah Tahmasb
•  Gaussar’s Mace
• Zahhak
• Rostam
• Bijan