Investigating the Mythological Roots of the "Dragon-Serpent and the Fountain" in the Water Features of the Illustrations in the Shahnameh of Tahmasp Manuscript

The paintings of Shahnameh Tahmaspi are recognized as some of the most prominent and valuable works of Iranian visual art, representing a profound connection between ancient mythology and artistic expression. These illustrations not only hold significant artistic value but also provide a crucial window into the historical, cultural, and religious beliefs of the Safavid era. Among the most fascinating motifs in these paintings is the depiction of “dragon-serpent” imagery incorporated into the design of fountains and water features. These elements are not merely decorative; they carry rich symbolic and cultural meanings that resonate with deeper mythological concepts prevalent in Iranian and other ancient cultures. The Question of this study is: What messages and symbolic meanings does the representation of the “dragon-serpent” myth convey through the structure and design of fountains in the paintings of Shahnameh Tahmaspi? This inquiry motivates a comprehensive exploration into how mythological themes are intertwined with artistic and architectural elements, reflecting broader cultural narratives and belief systems of the Safavid period. The primary Aim of this research is to uncover and analyze the relationship between the artistic design of fountains in Shahnameh Tahmaspi and the mythological symbolism associated with dragon-serpents and water, as reflected in Iranian literature and visual culture. Through this, the study seeks to enrich the understanding of Safavid art and its mythological underpinnings, bridging gaps in current scholarship on symbolic representations in Iranian art history. Furthermore, by focusing on a relatively underexplored aspect of Safavid painting—the depiction of functional elements such as fountains—this research opens new perspectives on the integration of mythology and daily life in Persian art.In terms of Methodology, this study employs a qualitative research approach grounded in documentary analysis. Data were gathered from a variety of documentary sources, including historical manuscripts, art historical texts, and mythological literature. Using a mythological analytical framework, the research performs a descriptive-analytical examination of the fountain designs, focusing on symbolic interpretations and cultural significance. This method enables a nuanced investigation of the interplay between mythology and material culture within the Safavid artistic tradition. Moreover, the study incorporates comparative insights from related mythologies to better contextualize the role of dragon-serpent figures in Iranian cultural history, thus positioning the findings within a broader intercultural discourse.The Results indicate that in Iranian mythology—and similarly across numerous other ancient civilizations—the snake or dragon-serpent is commonly understood as a guardian figure, protector of treasures, sacred springs, and holy trees. In the paintings of Shahnameh Tahmaspi, this mythological creature is portrayed in a way that underscores its association with power and protection, especially in relation to water, which itself symbolizes life, fertility, and renewal. Additionally, Shahnameh Tahmaspi transcends mere illustration of historical and mythological narratives by reflecting the social, political, and cultural atmosphere of the Safavid era. The complex and highly symbolic designs embedded in these paintings offer a visual language through which the ideologies and values of the period are communicated to the viewer. The fountains, in particular, represent a unique intersection of mythology, art, and architecture, where the dragon-serpent’s head often functions as a guardian figure for water sources—an essential element for life and prosperity. Such iconography suggests a metaphorical relationship between royal authority and the state’s capacity to ensure stability and well-being. The dragon-serpent fountain designs can be interpreted as a symbolic assertion of the king’s power to protect and sustain his realm, linking mythological motifs with governance and political ideology. Furthermore, the study highlights how the designs of these fountains were inspired by actual architectural and engineering techniques of the Safavid period, demonstrating a sophisticated fusion of mythological symbolism with practical craftsmanship. This fusion not only enhances the aesthetic quality of the artworks but also imbues them with layers of cultural meaning that resonate on multiple levels. By closely examining the artistic elements and symbolism in the water fountains, the research sheds light on how Safavid artists communicated complex ideas about power, life, and protection through mythologically charged visual motifs. This expands our understanding of the functional and symbolic roles played by art in the cultural and political discourse of the time. In conclusion, this research contributes significant insights into the symbolic language of Safavid art by elucidating how the myth of the dragon-serpent is visually and thematically integrated into the design of fountains within Shahnameh Tahmaspi. It emphasizes the role of symbolism and myth in shaping the cultural and political narratives of the era, expanding the discourse on the interplay between mythology, art, and power in Iranian history. By focusing on water symbolism and its guardianship, the study enriches the broader understanding of how natural elements and mythical creatures are woven into the cultural fabric of Iranian art, underscoring the enduring legacy of these symbols in conveying complex meanings across time.