Investigation of semantic layers in the painting related to Imam Zaman in Tahmaspi's Falnama, based on Erwin Panofsky's theory of iconology

One of the most important manuscripts related to the Safavid period are the Falnamas. Although the fortunes are among the first copies formed in Qazvin School of Painting, The drawings depicted in it have a high study value and cognitive style.The Paintings in the fortune-tellers, which are depicted under different themes, are kept scattered in collections abroad. One of the Paintings of the fortune teller that was formed in Qazvin painting school by a person named Mohammad is related to Imam Zaman And is kept in the Topkapi Museum. This Painting has a meaningful multi-layered structure Thus, the question that arises in this research is that What layers of obvious and hidden meanings are there in the painting related to Imam Zaman in Tahmaspi's Falnama? In the present study, an attempt has been made to: Using descriptive-analytical method as well as collecting Documentary method was used ,The image of Imam Zaman in Tahmaspi's fortune -telling should be read according to the iconology model and analyzed in three related stages. As a result, fortune-tellers were used to predict misfortunes. The level of people's belief in divination and prophecy in the Safavid period was high and because it was outside the custom of Islam, The painters decided to include images with religious and sacred themes in the fortune-telling drawings To justify their work. In reading the falnamas, there has been an attempt to reveal the meanings of The good and the bad of the future affairs That In the painting of Imam Zaman by analyzing the three stages of iconology, images, signs and also writings, which include verses of Persian poetry in Nasta'liq script and Arabic verses of the Holy Quran. An attempt has been made to grasp the existing concepts From the image as an image copy of a horoscope, it is a kind of herald of hope and the establishment of justice and the eradication of oppression and evil.