The painters, under the influence of the dominant social class, i.e. the men of bravery, have created images such as the two paintings of Harun al-Rashid in the bathroom painted by Behzad and an unknown artist from the Mashhad school. The purpose of this research is to analyze the principles of the men of bravery in the two above-mentioned works. Data is collected using library resources implementing a sociological research method. The findings suggest that the artist with a particular current view in the society has made a symbolic reference to the men of bravery and the initiation ritual. In the Herat image, by displaying a lot of loincloths which have been the trousers of the masseurs and humiliating the caliph in the corner of the image, the audience has been guided. In the school of Mashhad, the subject of the men of bravery is wrapped. In this image, references have been made to water, the stages of entering the circle of the men of bravery and the high position of the loincloths in the three left parts of the image. In the right part of the image, a hidden reference is made to the caliph besides the ordinary people. Head shaving of the caliph indicates that his position has been lowered and the stages of entering the circle of the men of bravery are felicitated.