Studying the textual and contextual aspects of traditional and applied arts offers a pathway for the expansion and enhancement of the discourse analysis concerning ethnic art.This avenue opens the way and helps the audience understand the inner meanings of the narrative, verbal expressions and visual systems, and structures of the text of the artworks. Indigenious arts, especially Jewish pictorial rugs with religious and symbolic faces present an area ripe for examination within the realm of theoretical investigations, inclusive of the theory and methodology of iconology.
This approach delves into the analysis and interpretation of visual compositions, aiming to unearth the profound essence of an image through its narrative, qualitative, and symbolic components, intricately woven together, while considering various structural and thematic facets of the piece.
 Image rugs are an expression of indigenious arts , offering a fusion of visual and textual discourse centered upon a foundation of objective narratives entwined with spiritual, national, and mythological subjects.Fabricated within specific temporal confines, these artworks serve as a means to preserve beliefs, ideals, epics, and ethnocultural memories. In the context of religiously themed works, these woven creations encapsulate not only images, visual elements, and aesthetics but also enduring ancient symbolic notions, archetypal constructs, and allegorical accounts.Deciphering these multifaceted dimensions mandates a grasp of the historical, cultural, and artistic contexts. This crucial undertaking is facilitated by methodologies such as iconology, denoting the science of image interpretation and analysis. This involves referencing textual sources that underpin the subject matter and concepts depicted within these works, while also scrutinizing the visual components to uncover latent objectives concealed behind the visual narrative.
 
 
These woven treasures, with the theme of famous stories and events in the Jewish religion, as well as figures of prophecy and sanctity, are a type of carpet weaving art of the Qajar community. In this research, the painted narratives and elements in the context of one of the examples of this type of weaving, namely the "Ghader-e Motlagh" carpet, are analyzed and explained from the perspective of the artistic lens of iconology.
Investigating the images and the portrayal of symbolic and allegorical themes and concepts within artistic and visual compositions encapsulates a comprehensive, overarching description of this approach. This methodology strives to fathom images (icons) as entities transcending mere visual representation, striving to convey messages to the audience that surpass the surface.
The "Ghader-e Motlagh" rug,, with the central theme of the sacrifice of Prophet Abraham, is one of the most important carpets in the tradition of Jewish carpet weaving. This rug is subject to an iconological analysis in this study. The question raised about the topic is what are verbal, narrative, and visual themes hidden in the narration of the sacrifice of Isaac.
The research endeavor aims to unearth and comprehend the meanings and concealed strata of the narrative through an exploration of both formal dimensions (elements and motifs) and the intricate interplay between them.
The findings of this research encompass a twofold significance. Firstly, they serve to reiterate the foundational moral tenets of the Judaic faith and Jewish identity. These tenets are presented in the form of theological systems, vividly depicted as symbolic imagery. Secondly, the study unveils the core message and intent of the narrative: prophecy, accentuating the religious, moral, and philosophical doctrine of "obedience and submission" to the divine through the rite of "sacrifice," which entails forsaking cherished possessions and desires.  The concept of sacrifice stands as an ancient archetype, woven throughout history, religions, tribes, and cultures, often at the behest of deities and adherents.
The research methodology is qualitative and developmental, employing a Descriptive-analytical approach. The data collection method is rooted in library research.  
Examining the "Ghader-e Motlagh" rug exposes a melange of icons, including motifs of sacrificial sons, humans, animals, and flora (Bidmanjoon and cypress tree), as well as inscriptions, architectural elements, and more. These components, harmoniously integrated, aid in the revelation of the intended hidden meanings. Especially within spiritual systems, these symbols embody a pursuit of perfection.
 
This study resides within the realm of qualitative research, characterized by its descriptive-analytical nature, while its purpose assumes a developmental trajectory. Data collection relies on library resources. . Concurrently, the research constitutes a case study, with data analysis adopting the iconological or iconographic approach.  The purpose of this research is to analyze and interpret the written and visual themes related to the topic of sacrifice in the studied carpet. Iconology, which is referred to as the science of image interpretation and explanation, is made up of two words "icon" which means image and "logos" which means knowledge. In fact, iconology is the study of the logos of words, ideas, discourses, or recognition of icons or images, or similarities (Metchell, 1986, 1). ). While its origins trace back to ancient Greece, with Philocentrasnus' Book of Icons and Akmarasnis' literary style adaptation (Mokhtarian, 1390, 110), ), this approach found a distinct footing in the 19th century AD (Nasri, 1397, 18). Over time, it was Warburg who developed iconology in the late 19th century in order to apply it to various subjects. He not only extended iconography to religioussubjects but also was able to apply the defining range of iconographic methods in order to provide knowledge and the cultural history of art in a comprehensive manner. This method was later called iconology (ibid.), and Panofsky, one of Warburg's most prominent students, was able to structure this method. Iconology is "not only the description of icons - like iconography - but also the interpretation of images and symbols by revealing the interpretive aspect" (Namvar Motlagh, 2013, 73). Panofsky's ethnographic approach, aiming to discern the cultural conceptions attached to images, illuminates unexplored facets of a culture and its worldview (Keshavarz Afshar & Samanian, 2016, 96). The icon's essence, poised between sign and subject, invites a deep cultural probe for an understanding of its intrinsic meanings, aligning with elements deeply embedded within culture.Ergo, iconology, as the science of interpreting and explicating icons or images, strives to unearth the inherent meanings encapsulated within artworks and discern their symbolic significance. Concurrently, this endeavor necessitates a familiarity with the symbolic horizon of the icons or images, grounded in their cultural underpinnings spanning mythology, religion, philosophy, and history (Dayeri & Ashuri, 2015, 21).
The theoretical framework of iconology unfolds across three stages. Pre-iconography phase constitutes the initial tier of comprehension. This phase entails an examination and description of the artwork (in this study, the selected carpet) and its concrete and tangible significance.This level encompasses a combination of both the real and expressive dimensions of meaning. Describing a work of art at this level necessitates knowingan understanding of its historical conte, its method, and style resemblances to comparable works, as well as relevant phenomena and themes. This level operates on the premise that visual constituents within the image are fashioned under the influence of specific factors.  The subsequent phase, iconographic analysis, delves into the exploration of the central and conventional meanings entrenched within the artistic creation. This stage mandates a grasp of specific themes and concepts, entailing familiarity with a wide spectrum of motifs. Referred to as iconographic analysis, this level of meaning embodies the interplay between artistic motifs and their compositional form to construct a secondary, conventional meaning (Panofsky, 2012, 103).
The secondary meaning in the field of art is the meaning that a person achieves with the subject or at a higher level with their theme by establishing a mutual relationship between artistic motifs and the form of their composition (Panofsky, 1972, 6).
Unlike the prior level, this mental facet encapsulates allegorical manifestations and cultural codes, acknowledged, condensed, and institutionalized within ethnic groups.
The third and final stage entails the analysis of iconology or the content-driven meaning of an artwork, culminating in iconological interpretation. This phase demands a profound comprehension of the culture in which the work was conceived, encompassing its worldview, principles, values, religious tenets, cultural elements, social dynamics, and philosophical orientations. To engage in this level of interpretation, the analyst must grasp the historical journey of symbols and signs. This tier of meaning assumes an authorial essence, evolving through intuitive processes (Panofsky, 1972, 7-9). Crucially, the third level of interpretation amalgamates the preceding two stages, crafting a coherent and inseparable progression.