The painting of a desert wanderer's tent at the foothills of "Khamse Tahmasbi" which is known by many names such as "Meeting of tribes", "Itraq" or "Life in a summer house", tells the story of Itraq caravan in the lap of nature. which is tabulated in an unconventional way. Throughout history, painting has mainly played a role as a noble art in royal courts and related to classical literature, but with political purposes. This art has always attracted the attention of researchers who have studied it with different approaches. "Iconology" is a systematic, logical and multi-faceted approach that tries to understand the field of meaning in front of the form by going through the three stages of description, analysis and interpretation of the work. In this essay, an attempt has been made to analyze and interpret subjectivism by using this approach outside of objectivism. Objectives such as getting to know the world view common in that era, investigating the hidden signs in the interior of the painting, and also getting to know the causes of the artist's urge to record everyday events are pursued. Ethnographic and aestheticizing a scene of nomadic culture and turning it into a role has caused a result such as removing the border between art and everyday life, which has definitely played a role in the wake of the renaissance created in the Timurid period and religious freedom. . A trend towards modernism that became more complete with the arrival of foreigners in the court. According to the prevailing discourse of the Timurids, the Sufism-infused look of the painters deepened with the influence of Western art on the surroundings of life, and the foundations of these changes were laid until the time of Shah Tahmasb and his unkindness to the artists. The transformation of a scene from a nomadic life into a work of art for one of the most prominent royal copies is thought-provoking. Finding the roots of this remarkable transformation and its de-sanctification requires a systematic research that, according to the iconographic form of the work, the approach of Erwin Panofsky's iconography is considered.