The art of the Qajar period has received deep influences in the face of various cultural, political, and social currents. By the beginning of the reign of Feth-Ali Shah, a new style called “Court portrait painting” entered the field of Iranian painting. In this style, people enter the picture contractually without any resemblance. Although portraiture is borrowed from European naturalistic elements, it has preserved the traditional method of idealizing reality. At first glance, this style seems to be only a court order, but the main issue is the artist’s indisputable obedience to the conditions and wishes of his patron. These conditions have a direct relationship with social conditions and events. Fath-Ali Shah’s preference for symbolic and surreal paintings of himself unlike other Qajar kings, has sparked curiosity into the reasons behind this choice and its psychological and social impacts. This has resulted in both a formal analysis of the paintings and an exploration of the related effects. The content and meanings hidden in them should also be read and examined. Therefore, to achieve this goal, iconological criticism of portraits based on the theories of “Jacques Lacan”(imaginary order, symbolic order, real order, and political order) have been used to present a new analysis of this character and his pictures. The statistical population of this research includes five selected paintings of Fath Ali Shah. The research has been done by the descriptive-analytical method and by examining the books and works available in museums and libraries. The results of the findings show that the lack of realism and idealism of the portraits can be justified and analyzed according to Lacan’s definitions of the imaginary, symbolic, and real order to meet the psychological needs of the king.