Structural and content analysis of Shahzadeh zeid of Isfahan paintings based on Panofsky's views

Iconography of Athar imams is the most common form of the appearance of religious art themes in Iran, which began with book arrangement in the 8th century AH and with the strengthening of Shiite ideas in the Safavid era, the national-religious sense of the common people was awakened and appeared on the walls of public holy places. Iconology and iconography were mentioned by Erwin Panofsky as three levels of pre-iconographic description, iconographic analysis and iconographic interpretation. Imamzadeh Zayd Isfahan is one of the places that contain religious iconographic images from the Qajar period that have remained intact until now. This research aims to investigate the visual structure and content analysis of Imamzadeh Zayd Isfahan's paintings based on Panofsky's theory to describe, analyze and interpret the paintings in this place. The method of research is descriptive and analytical, and the collection of information is in the library and field method and in response to these questions: 1- How can the icons of Imamzadeh Shahzaid be examined based on Panofsky's opinions? 2- What are the special features, structure, content, similarities and differences of Imamzadeh Shahzaid's icons? The results show that these paintings lack academic and court structural relationships and complexities and have symbols containing people's religious beliefs, as a result, from Panofsky's point of view, their descriptive aspect is very high and their analytical and interpretive aspect has been given less attention by the artist.