Symbols in Persian miniature art serve as instruments connecting the sensible world with the transcendent realm. When two or more symbols are placed in proximity, a relationship of syntagmatic association is established between them. This relationship, while revealing their inherent meanings, facilitates a more effective transmission of the message to the audience. The painting "The Rescue of the People of the Sea by Imam Reza (A.S.)," illustrated in the Safavid-era Fāl-nāmeh (Book of Omens), is a prominent example of this symbolic syntagma in the miniature painting of this period. By employing Shiite symbols and Iranian myths, it represents deeper meanings. This research aims to answer the following question: How have Shiite symbols and Iranian myths collaborated in this painting to recreate the concept of Good and Evil?
The research method is descriptive-analytical and based on qualitative data analysis. Information was gathered through library and documentary sources, as well as direct observation of artworks. Four relevant paintings from the Fāl-nāmeh manuscripts were selected for analysis.
The findings indicate that in this painting, the concept of Good and Evil results from the integration and syntagmatic association of two intellectual-religious systems: on one hand, the Zoroastrian worldview with its belief in the perpetual battle between Good and Evil, and on the other hand, Shiite concepts of salvation, light, and intercession. The outcome of this association is a multi-layered image in which Shiite symbols are reinterpreted within the context of Iranian myths, and ancient mythological concepts such as the "Saoshyant" (the savior) are embodied in the figure of the Imam; "Farr" (Divine Royal Glory) manifests as the halo around his head, and "angels" appear as forces supporting Good. "Demons" and "malevolent hybrid creatures," embodying Ahrimanic forces, represent Evil and darkness in the role of the Imam's adversaries. Furthermore, the "naked humans drowning in water" symbolize sinful and faithless humanity—individuals who, due to sin or lack of faith, have fallen away from the Ahuric order and into the abyss of evil and destruction. Thus, the painting not only narrates the confrontation of Good and Evil but also represents the cultural continuity and syntagmatic relationship between Iranian myths and Shiite religion in the art of the Safavid period.