Reverse glass painting, as an ancient genre in Islamic art of Iran, with its unique combination of color and transparency, has served as a medium for narrating stories and conveying religious concepts within the Shiite context. In this regard, the representation of miracles and symbols associated with Imam Reza in reverse glass paintings holds particular significance. The artworks preserved in the Museum of Reverse Glass Painting in Tehran reflect diverse manifestations of such symbolic imagery in the form of halos of light, sacred footprints (Qadamgah), and animal motifs.
The aim of this study is to analyze the visual and semantic structures of symbols attributed to Imam Reza (A.S.) in seven selected paintings from the museum. The central research question asks: What symbolic reflections of Imam Reza are identifiable in the composition, color palette, and arrangement of animal and spatial elements in these artworks?
The research method is qualitative and follows a descriptive-analytical approach. Data were collected through library research and field observation, and analyzed using a semiotic-symbolic framework, focusing on the themes of “The Guardian of the Deer” (Zāmen-e Āhū) and the event of Imam Reza’s poisoning.
Findings reveal that the artists, through symmetrical arrangement of elements, symbolic use of colors, and the employment of halos and animal signs such as deer, camel, and wolf, reinforce concepts such as intercession, mercy, the contrast between sanctity and worldly threats, and the transcendence of time and space.
The convergence in visual structure alongside qualitative differences in execution highlights the variety of narrative techniques and emphasizes multiple layers of meaning.
Analyzing these symbols not only unveils the depth of meaning in the artworks but also facilitates understanding the cultural and religious significance of reverse glass painting in conveying Shiite teachings, particularly in relation to the lofty status and character of Imam Reza .