Analyzing the icons of Imam Ali, Imam Hassan, and Imam Hussein from the Museum of Iranian Art using Erwin Panofsky's iconography approach

The study of religious iconography is a significant and intricate form of artistic expression across various cultures. Notably, the iconographic art of the Qajar period possesses distinct attributes and qualities that distinguish it as a crucial subject of study within the area of religious iconography. Meanwhile, Erwin Panofsky's ideas have given rise to the study of iconology and iconography, which can aid scholars in uncovering both apparent and concealed layers within the realm of art history and help them comprehend the significance of icons. In light of this information and within the context of the forthcoming study, the artwork titled "Hazrat Ali va Hassanein’s" (Imam Ali and his sons) by Ali bin Mohammad Ebrahim Naqashbashi, housed in Iranian Art Museum will be examined utilizing Erwin Panofsky's iconography approach. This study aims to comprehensively examine the aforementioned icons through a qualitative and analytical lens, utilizing historical evidence from bibliographic sources and image analysis based on image organization principles. The ultimate goal is to gain a thorough understanding and investigate this Qajar iconography example. The research's main question is rooted in Panofsky's iconological approach, seeking to uncover specific descriptions, analyses, and evaluations of Imam Ali and Hassanein’s icons.
       The research conducted focused on three main areas: pre-iconographical description, iconographical analysis, and iconological analysis. The initial step involved describing and examining the specific characteristics of the work, which were derived from a combination of general knowledge and everyday observation of this work of art. Then, the traditional significances have been examined and an analysis of the conventional meanings has been conducted, considering the varied information of the artwork which is being consolidated and interpreted. In other words, during this phase, the perspective and underlying depths of the work's creation period have been taken into account.
       The painting portrays the figure of Imam Ali, flanked by his sons Imam Hassan and Imam Hussein. Imam Ali is depicted at the center of the artwork, exuding a strong presence as he sits on both knees. His face radiates serenity and brightness, while he holds a green sword in both hands, clad in a brown robe. Adorning his head is a white dastar or turban, complemented by a brown agal.  
       To the right side (and to the left side of the observer), there is a young man seated on both knees. He is wearing a green robe and a turban, along with a red robe and a white shirt (known in Arabic as dashdasha). This young man is pointing in a specific direction with his right hand. On the opposite side of the image, sits another young man. He is dressed in a red abaya, a green robe, and a white shirt. His hands are placed on top of each other and resting on his legs. Both Imams have a golden halo surrounding their heads. In the background, the image has a blue sky decorated in a circular pattern with various shades of blue, light blue, and cream colors.
       Above the painting and in the sky background there is an Arabic inscription with the title “La Fatah Illa Ali La Saif Illa Zulfiqar “(There is no hero like Ali, there is no sword like Zulfiqar). The image shows two ornamental brown lachaki arches with golden patterns in the top corners. The individuals are seated on green fur, while the material beneath them appears to be a brown mat or buria. At the feet of Imam Hussein, there is a brown-colored inscription displaying the title "Ali bin Mohammad Ebrahim Naqshbashi Esfahani". 
       The dimensions of the artwork, including its frame, are 104 x 139 cm, while the exact dimensions without the decorative frame are 94 x 128 cm. The artist has skillfully created the effect of oil and paint on canvas. The creator of this masterpiece is Ali bin Mohammad Ebrahim Naqshbashi, who is not known in Persian sources. However, based on the style, time period, and historical evidence available, it is likely that he is one of the children of Muhammad Ibrahim Nematullahi, a prominent painter during the Qajar Dynasty and the reign of Mohammad Shah (1834 to 1848 A.D.).
       In the second area, the analysis of the artwork focuses on key principles of image organization such as "harmony," "variety," "balance," "proportion," "mastery," "movement," and "brevity." The characteristics of the work have been thoroughly examined in this context. The painting showcases harmony in various ways, with the design displaying a coordinated arrangement. This coordination is achieved through the use of central symmetry, which is a classic method of composition and image organization. The central image of Imam Ali plays a pivotal role, with the forms of Imam Hasan and Imam Hussein, repeated on either side. This creates a cohesive and well-structured visual experience for the audience.  
       The artist's skill in employing a meticulous format and contrasting colors is evident in their adeptness at utilizing the principle of diversity. This significance is particularly apparent in the juxtaposition of two complementary colors, namely green and red, within Imam Hassan and Imam Hussein’s attire. Additionally, the type of symmetry employed in the depiction of Imam Ali's icon can be classified as pseudo-symmetry. Within this artwork, the primary elements maintain a consistent and equal equilibrium, yet subtle variations in details enhance its attraction. The phenomenon can be further explored and analyzed through the intricate hand and facial gestures displayed by Imam Hassan and Imam Hussein.
       The painting does not adhere to the golden ratio favored by classical artists. However, what makes it remarkable is the division of the panel into three parts, with lengths of two, three, and six. These measures can also be observed in the background lines of the artwork, highlighting the artist's emphasis on the principle of proportion. Conversely, it is possible to track and verify the ratios of the central and crucial elements of the panel. These components are distinctly visible in three configurations: "circle," "triangle," and "point of emphasis."
       The mastery is clearly demonstrated in the portrayal of the characters and the depiction of the Shia imams. The central and most prominent aspect of the artwork is the depiction of Imam Ali, which has been carefully selected in terms of composition and size to serve as the primary visual element of the painting. The painting's focal point, Imam Ali, directs the viewer's gaze toward it, thanks to the use of movement and visual triangulation. This effect is also seen in the two icons of Imam Hassan and Imam Hussein. The painting's simplicity is achieved through the use of primary colors, minimal details in clothing and background, and a simplified space that demonstrates the principle of brevity.
       The third area can be examined through various distinct indicators. Initially, the focus is on the utilization of colors, followed by the incorporation of significant elements such as Zulfiqar, Agal, and Turban. Lastly, the inclusion of the hadith " La Fatah Illa Ali … " concludes this area of discussion. The selection of white as the primary color, symbolizing utmost perfection, simplicity, sunlight, air, illumination, and purity, as the predominant attire for all three imams, demonstrates the profound significance of their innocence. Moreover, the presence of red and green tones in the depictions of the Imams reveals the artist's profound knowledge as an interpreter of the religious beliefs within Shia Islam. The green shade employed in the icons of Imam Hassan and Imam Hussein represents their sovereignty and pacifist approach, while the red color serves as a symbol of their commitment to jihad, warfare, and martyrdom.
       The color brown is often associated with qualities such as honesty, reliability, and trustworthiness. In Arab culture and literature, it is also seen as a symbol of greatness and glory, particularly when worn by a Sheikh or Sayyid. In this artwork, the artist has chosen to depict Imam Ali as a prominent Arab figure, dressed in a brown robe. The use of a blue sky with circular bands leading to Imam Ali's head signifies his heavenly nature and innocence, complementing the overall theme of the painting. Additionally, the golden color represents the sun, intellect, intuition, faith, and goodness. Both Christian and Islamic art have long emphasized the significance of the golden color as a representation of divinity. Also, the luminous halos surrounding the heads of saints, prophets, and imams further highlight their immense importance in religious concepts.
       The painting uses a halo of light to convey two distinct emphases. Firstly, it serves to sanctify the subject, highlighting their divine nature. Secondly, it conceals the faces of the saints, as religious beliefs forbid their depiction. In popular culture, the green sword known as Zulfiqar symbolizes the power and bravery of Imam Ali. In this particular artwork, Zulfiqar is depicted with a downward-facing green sword held in both hands of the Imam. The positioning of the sword signifies Imam Ali's defensive stance, indicating that he did not wield it for aggression or conquest, but solely to protect Shia Islam. The portrayal of Imam Ali's dignity through the agal and turban should be acknowledged as a representation of reason and rationalism. The image depicts a white turban adorned with a three-ring agal. This particular shape of three rings is exclusively reserved for imams of the congregational prayer and holds great religious significance among the elders of the Arab community. The artist, with their profound understanding of religious principles and familiarity with historical clothing and its symbolic elements, aimed to envision Imam Ali as the guardian and supreme leader of Shia Islam. The hadith "La Fatah..." serves as a clear testament to Imam Ali's chivalry, metaphorically expressing his courage. Drawing from the popular culture and beliefs of the Shias, the artist chose to begin the phrase with "La Fatah…" as a contrast to the traditional form of "La Saifa illa Zulfiqar, Va La Fatah illa Ali." 
       In conclusion, it can be stated that there are numerous examples of existing icons from the Qajar period, resulting in a remarkable variety due to the expansion of iconographic concepts. However, what sets this particular work apart is its significant importance from two perspectives. Firstly, the application of principles based on the proper organization of the image has resulted in a distinct visual impact with accurate and proportional projection. This significance in terms of form, color, and composition reaches the highest level of aesthetic and formalistic values, as indicated by the presented analyses, and has been duly acknowledged in this research. Secondly, in the realm of Qajar period iconography, we encounter an artist who possesses a strong understanding of the principles and foundations of the social, cultural, and religious infrastructure of his time and has effectively utilized them. Considering Ali bin Mohammad Ebrahim’s upbringing in a renowned artistic family and under the guidance of a figure like Muhammad Ibrahim Nematuallahi, who was divinely blessed and had a profound comprehension of the religious and Shia principles of his family, these elements have been incorporated into the work. The artist's use of hidden and symbolic layers has resulted in a magnificent painting that not only possesses aesthetic appeal but also carries deep religious and social significance.