Tahmasabi's Shahnameh is known as one of the most beautiful and important manuscripts in the history of Iranian painting, which was created during the Safavid period with the participation of a significant number of artists, painters, calligraphers, etc. Among the paintings of this manuscript, Rustam appears in 37 images, making him the most frequently depicted character, represented by several different painters. One of the most significant episodes in Rustam’s life is the story of the Seven Labors (Haft Khān). The aim of this study is to provide a visual reading and iconological analysis of the illustration depicting the Fourth Labor in the Tahmaspi Shahnameh, entitled “The Narrative of Rustam Killing the Witch Woman,” which has been attributed to Qadimi. The principal research question is: upon what elements did the painter rely in presenting the hero of the Shahnameh, and how did he depict the confrontation between good and evil? This study employs a descriptive, analytical, and comparative approach based on the theories and ideas of Erwin Panofsky. The research data were collected through library-based methods. Accordingly, it is necessary to examine the artwork in relation to earlier manuscript copies, as well as other images of Rustam painted by the same artist, through an analysis of visual elements such as color, symbols, and related motifs. Panofsky’s approach, given its emphasis on the pictorial layers and implicit meanings of artworks, remains one of the most effective methodologies in art-historical research for the in-depth analysis of works of art within academic contexts. It enables scholars to uncover hidden dimensions of a work that an artist may have incorporated, even unintentionally. Therefore, through the three stages of pre-iconographic description, iconographic analysis, and iconological interpretation, this study seeks to uncover the latent layers of meaning within the artwork and answer the aforementioned questions. The findings indicate that, according to numerous sources, the hidden meaning of Rustam’s name—associated with the force of flowing water, the rush of rivers, and vigorous growth—is influenced by the significance of water and the perpetual struggle between drought and fertility. This symbolism does not conflict with Rustam’s distinctive epithet, “Bestower of the Crown,” which has Scythian roots and denotes the protector and guardian of kingship. Rustam is not merely the defender of the king; he is also the guardian of water against drought. He is consistently associated with verdant fields, and his tent is green in color. Rustam rises in opposition to Afrasiyab, who, according to the evidence presented, belongs to the ranks of the demons and whose invasions of Iran invariably bring drought and water scarcity. In other words, Rustam’s presence within the Iranian epic tradition symbolizes the importance of water and embodies prosperity and fertility. He stands in opposition to drought, represented symbolically by Afrasiyab. Rustam is likewise the protector of kingship, for the loss of royal glory (farr) and the absence of legitimate sovereignty are equated with drought and desolation. Rustam is consistently present in resistance to such conditions. For this reason, the painter symbolically represents Rustam and the witch woman—who serves as a signifier of demonic evil—as embodiments of fertile land and barren land. Their presence divides the painting into two contrasting zones: one lush and verdant, the other dry and lifeless. Furthermore, through the use of the color red—possibly influenced by earlier manuscript traditions—the artist sought to convey specific qualities of Rustam: strength, brilliance, and vitality, likening him to a life-giving sun. The use of this color can also be observed in earlier manuscript traditions and in certain examples of Christian art depicting saints. Qadimi, the painter of this illustration, employs red in Rustam’s beard and mustache, both in this image and in other depictions of the hero, as a symbol of masculinity, wisdom, and courage. Rustam alone is portrayed with red hair and a beard. In contrast, the artist cleverly combines red and black to depict Rustam’s opposite, the witch woman, thereby evoking demonic and sinister associations. Rustam’s redness is not confined merely to the symbolic meaning of the color red. Certain versions of the Shahnameh describe him as red-hued at birth, although such verses do not appear in the edition prepared by Jalal Khaleghi-Motlagh. In addition to portraying the struggle between good and evil and using Rustam’s red beard and mustache as symbols of power and sanctity, the painter incorporates animals concealed among the rocks and vegetation. From a historical perspective, these motifs may help determine the date of the painting’s creation. On a symbolic level, however, they do not contradict the proposed dating but instead align with the themes of the narrative: water, Rustam, fertility, the regeneration of nature, evil forces, night, conviviality, indulgence, deceit, and falsehood. It may therefore be argued that the artist, perhaps unintentionally, incorporated elements that reinforce the narrative of Rustam, his character, and his opposition to the witch woman—elements that may ultimately be understood as symbolic expressions of the eternal struggle between good and evil.