Art has long served as a powerful tool for expressing religious, political, and cultural beliefs. In this context, Palestinian artist Sliman Mansour skillfully integrates religious and cultural elements in his work to reflect the concept of identity, making extensive use of symbols of Palestinian resistance. In his 2016 painting “Palestinian Family”, Sliman Mansour portrays Jesus and Mary intertwined with distinctly Palestinian elements. This article explores the emergence of three layers of meaning in the painting “Palestinian Family” and decodes its cultural and social dimensions based on Erwin Panofsky’s theories. Additionally, the article addresses how the three levels of meaning in “Palestinian Family” can be decoded and interpreted through Panofsky's perspective, and how iconology reveals the reflection of the social conditions surrounding Sliman Mansour in the artwork. The hypothesis suggests that Sliman Mansour’s repeated creation of works depicting Palestinian life with Christian themes results from his inclination toward Christianity and his immersion in the Palestinian struggle. Consequently, his art aligns the life stories of Jesus with Palestinian families. This research, which is foundational in nature, adopts a descriptive-analytical approach and draws from library and online sources. It first explores the background, principles, and stages of Panofsky’s iconology theory, then introduces Sliman Mansour and his intellectual perspectives, before applying the three stages of iconology to “Palestinian Family”. The findings indicate that Sliman Mansour’s familiarity with Christian teachings, including the arrival of the savior, his collaboration with fellow Palestinian artists, and his understanding of popular struggles such as the Intifada, all influenced his use of art as a tool of resistance.