It is necessary to explore different historical, social, and cultural components to study the history of illustration in general and Iran's historical era in particular. Therefore, factors beyond a simple idea should be sought even in research limited to a single image. In this sense, among the theories and methods for such studies in the pictorial field, the Panofsky iconography theory is a shortcut to reaching the backgrounds, roots, and causes of forming an image. With such a view, the iconography approach has been chosen to systematically study the mural painting of the Ghoushchi man (a hunter who uses hawks for hunting) on Neishabur's Takestan Tappeh. This mural painting was found in the ruins of Neyshabur, belongs to the early centuries of the Islamic era, and shows a hunting scene with unique elements; this image expresses its ancientness, so it is of great importance. This research aims to examine these pictorial components from the content and form aspect and to answer this central question: to what extent can the Parthian visual tradition role be found in this Islamic era mural painting? What was revealed during the research shows the significant role that pre-Islamic pictorial traditions had in forming this mural. The Parthian and Sassanid visual traditions' role seems clear. Each of these traditions has a unique role that directly or indirectly and vicariously affected the Ghoushchi man mural painting. However, it should be noted that these influences cannot be studied apart from the cultural geography critical role of the historical Great Khorasan and the nations living there during these centuries.