The Iconology of Woman’s Position in the Painting of Adam and Eve’s Expulsion from Paradise in Tahmasbi’s Falnama (962-967 AH) from the Point of View of Ervin Panofsky (1892-1968 AD)

Shah Tahmasb Safavi pursued extremism during the latter portion of his reign. In this regard, women stayed at home. On the directive of Tahmasb, Tahmasabi composed his Falnama (962-967AH). Panofsky is one of the art history researchers who methodically organized iconology. He assigned three levels of significance to the interpretation of the work of art, in which the researcher seeks th​e symbolic values of a society that the artist unconsciously reflects in his work. Panofsky’s research questions include: What institutionalized belief about women is reflected in the painting of the expulsion of Adam and Eve in Tahmasbi’s Falnama? The objective of the investigation is to identify the origins of Tahmasb’s convictions regarding the status of women and their manifestation in this painting. The research is fundamental in nature and is conducted in a qualitative and comparative-analytical manner. The materials were collected in a library manner and with an iconological approach. The painting is influenced by the Qur’an; however, it contains elements that are not present in the Qur’an. So, the artist was motivated by additional texts that were extracted from ancient sources. The painting is a document that reflects the extreme beliefs about women in the patriarchal society of Tahmasab’s era, which originated from ancient metamorphoses such as the war between the male and female gender, Eve’s committing the first sin, and the blaming of the female gender. This is the root of women’s restrictions during this period.