The argument put forth is that since every phenomenon within a series responds to a principle that can be considered its essence, it logically follows that the phenomenological images of perceived actions, that is, the actions as they appear to our consciousness (praxical image), are also principled by an essence, and since actions are enrooted within a particular culture, therefore, the principle must be cultural as well and given that the principle rules the series of phenomenological images from inside as well as from outside, then, it can be held that the principle is a cultural image of human being (anthropical image) which constitutes the essential meaning of the series of actions that accounts for a form of life, and thus, it can be concluded that the phenomenological images are already invested with cultural (symbolical) meaning, which endows the agent with identity. The methodology to explore and support such a proposal is both a phenomenological approach indebted to Sartre and a version of Panofsky’s iconology grounded in the understanding of the symbolical dimension of human being.
We can only apprehend their meaning through our phenomenological experiences of them as being.
In this paper, I claim that both being and meaning constitute human actions. On the other hand the political relations of Iran and India because of the dispute over control of Kandahar was not good. In this paper it is tried to answer to this question: what cultural and political factors did have role in forming the mentioned image? The most important results of this research show that the European Christian elements which had been entered to India Mongolian Painting School was effective. Panofsky believes that for recognizing the hidden meanings of artworks, considering the relationship between the details of artwork and general culture and the society that the artwork has gotten formed is necessary. The purpose of this paper is obtaining hidden deep concept of mentioned image by iconological approach of Erwin Panofsky. From these images the image of Jahangir Embracing Shah Abbas can be addressed. He also was used to asking from his reliable painters to picture the dreams. He was used to sharing his dreams with others and ask for their opinion about them.
Noureddine Jahangir (ruling 1605-1627), king of India was one of the tasteful rulers who was interested in dream and its interpretation.
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