With privileged status and mystical powers, lion has constantly played a major role in human societies and different civilizations. The earliest graphic representations feature lions as hunters with great strength, strategies, and skills. In the Iranian culture and art, images of the animal were used in various forms and with different concepts, sometimes decoratively and symbolically, and other times politically. Religious purposes were another occasion for the appearance and application of lion motif in the Iranian culture the most evident example of which would be the “Lion of God” as a metaphor for the first Shiite imam. Another manifestation of lion in visual arts is the one related to the subjugation of the animal by the men of God, i.e. prophets, imams and mystics. In Qajar era, as the site for the representation and the time of the development of visual arts, we encounter many related works in which lion has been depicted in various occasions with different subjects and themes. Accordingly, the present essay aims at the examination and evaluation of this subject matter in different art media, particularly during the Qajar epoch. The main questions proposed would be as: To what categories the Qajar lion motifs would fall into? What are the concepts and themes of such categories and representations? The results indicate that representation and illustration of the scenes related to such a motif would adopt different aspects and interpretations. Here the lion depictions range from an inactive or passive animal which is being hunted and killed in hunting grounds with the aim of entertainment or showing authority, to the one miraculously turning into the agent for the fulfillment of holy personages’ wills, or the one finding itself in the prophet’s Ascension. Each of these scenes represents a certain theme: political, narrative, religious, allegorical and decorative.