Eram Garden in Shiraz is a significant structure from the Qajar era. Due to Shiraz's historical background and its influence from Western culture, it played a key role in shaping Iranian art and architecture. Until the end of the Qajar period, the Shiraz school of painting incorporated themes from Persian literary classics such as One Thousand and One Nights, Shahnameh, Khamseh by Nezami, Divan of Hafez, the works of Saadi, and Quranic stories like those of Joseph and Zulaikha and Solomon and the Queen of Sheba. These narratives are frequently depicted in Shiraz’s tilework, characterized by vibrant colors—particularly shades of red—and an emphasis on human figures. This research aims to analyze the meanings and content of the three-arched tilework at the entrance of Eram Garden using Erwin Panofsky’s iconology method. The tilework consists of four panels: the Queen of Sheba in Solomon’s court, the court maidens swooning at the sight of Joseph’s beauty, Shirin bathing while Khosrow watches, and a depiction of Naser al-Din Shah on horseback. These illustrations reflect human, mythological, and narrative elements typical of the Qajar period.
During the Qajar era, tilework largely followed the style of the Safavid period but evolved with distinct decorative innovations. The entrance tilework served both functional and ornamental purposes, conveying cultural, social, and even political messages. Historically, entrances in Iranian architecture have been seen as spiritual spaces expressing the beliefs and values of the building’s owner. Tilework, alongside brickwork, stucco, and painting, was used for entrance decorations across various historical periods, reflecting the traditions and beliefs of each era. The visual language of entrance tilework can be viewed as a set of symbols and motifs that convey deeper cultural narratives. Analyzing these motifs using Panofsky’s iconology can uncover hidden meanings and their connections to Iranian culture and religion. The study aims to answer two key questions: (1) What are the fundamental meanings behind the human, mythological, narrative, and animal motifs in these tileworks? (2) How are these motifs connected to Iranian culture and religion?
Methodology
The research is descriptive-analytical, using Panofsky’s three-tiered iconology approach. Data collection was conducted through library research and field observations. The study’s statistical sample consists of three narrative panels from Persian literary and religious stories, analyzed qualitatively through three stages: pre-iconographic description, iconographic analysis, and iconological interpretation. The objective is to interpret the hidden meanings in the tilework panels based on Panofsky’s framework.
Findings
The findings reveal that the motifs in the Eram Garden tilework are symbolic, encompassing historical, mythological, and religious themes. Depictions of religious and royal figures, such as Solomon and the Queen of Sheba and Joseph and Zulaikha, signify the fusion of religion and power in Iranian art and culture. Each human figure—Solomon and the Queen of Sheba, Khosrow and Shirin, Joseph and Zulaikha—symbolizes virtues like wisdom, love, beauty, and authority. These characters served as role models, promoting values such as justice, courage, and love.
The representation of women in the tilework is diverse. On one hand, figures like the Queen of Sheba and Shirin symbolize power, intelligence, and beauty. On the other hand, Zulaikha is portrayed as a symbol of temptation and seduction. This diversity reflects the multi-faceted view of women in Iranian culture. Evil figures such as demons symbolize malevolent forces, and the struggle against them represents humanity’s battle with the ego in the quest for perfection. Mythical birds like the Simurgh represent wisdom and enlightenment, guiding humanity toward truth. Animals such as lions and leopards symbolize strength and bravery and are often depicted as adversaries in Persian epic and mythological tales.
Nature plays a vital role in Iranian culture, symbolizing life and creativity. In these tileworks, nature is depicted symbolically, linked to fertility and growth. By illustrating scenes from Shahnameh, Nezami’s romantic tales, and Quranic narratives, the tilework highlights Iran’s cultural heritage and historical identity. The inclusion of figures like Joseph and Zulaikha symbolizes virtues such as morality, virtue, and self-restraint.
The motifs of the three-arched entrance of Eram Garden deeply resonate with Iranian cultural and religious themes. Overall, the tilework reflects elements of Islamic-Iranian architecture, combining religious, mystical, and symbolic concepts.
The number three holds a special place in Iranian culture and philosophy. It may symbolize the three essential elements of creation—heaven, earth, and water—or the three Zoroastrian principles of “good thoughts, good words, and good deeds.” This triadic symbolism is also prevalent in Islamic-Iranian art and architecture. The crescent, a prominent motif in the Islamic world, represents a connection to the heavens and spirituality. In Safavid and Qajar tilework, crescents often symbolize divine guidance and spiritual ascension. The three arches at the entrance of Eram Garden may symbolize the sacred triad in Islam—God, the Prophet, and the Imams—representing unity and spiritual authority.

In Iranian art, floral motifs, such as flowers and vines, often symbolize paradise and spiritual realms. These motifs surround the three arches at the entrance of Eram Garden, emphasizing the connection between the earthly and the divine. They may also symbolize the unity between humanity and the natural and spiritual worlds.
In conclusion, the entrance tilework of Eram Garden showcases a rich tapestry of religious, mythological, and cultural motifs, reflecting the historical and spiritual identity of Iran. By employing Panofsky’s iconology, this study reveals the symbolic meanings and intricate connections within these tileworks, highlighting their significance in Iranian cultural and artistic heritage.