The mural paintings of religious buildings from the Qajar era are considered among the most important sources for the study of Islamic art in Iran - especially religious symbology. Among these, the gazelle motif can be referred as a symbolic element carrying multiple and multilayered meanings. The present study aims to analyze the functions of the deer motif in the narrative structure and symbolic system of the works. Using a qualitative approach and the iconography and iconographic method of Ervin Panovsky, it has attempted to explain the classifiable patterns of the deer motif in the murals of religious buildings of the Qajar era from two thematic and semantic perspectives, and to recognize the function of this motif in the narrative structure and symbolic system of religious murals of this era. The findings of the study indicate that: 1- The deer motif is classified into six semantic patterns and eight thematic patterns: aesthetic-decorative (ornament), allegorical-mystical (desert), narrative-religious (deer guarantor of the deer, deer and the prophet, deer and Sultan Qais), allegorical-ritual (battle), allegorical-symbolic (deer and lion), and local narrative-mythical (deer hunting). 2- Among the functions of this motif, considering the narrative context of the work, are: representing sacred concepts, intercession, purity, oppression, and the confrontation between good and evil. The results of the research also indicate that the deer motif in religious murals of the Qajar era has a multilayered nature and is dependent on the narrative context, which has a special place in the symbolic system of religious art of this period. This iconographic analysis has been able to clarify the semantic layers and visual functions of this motif and show the effective role of animal paintings in conveying religious concepts.