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Showing 3 results for Shahnameh
Abbas Namjo, Nazgol Haghi,
year 2, Issue 5 (12-2018)
year 2, Issue 5 (12-2018)
Abstract
Abstract
The Shahnameh of Madhi was painted by ottoman artists in the first half of the seventeenth century. Introducing this book and Studying the paintings is important because ottoman paintings has existed in the history of Islamic art, especially in Iran, because there is a close connection between the Safavi and Ottoman governments that can clarify many issues around the two countries and a historical analysis of the historical name and identity of one of the prestigious manuscripts of the Shahnameh is performed in a language other than Persian abroad. This book is writing in Arabic and in Turkish in Istanbul. The Turkish translation book is one of the Iranian texts with a worldwide reputation. The purpose of this study was to identify and understand the art of the Ottoman period and the impact of Iranian culture and literature on that art. Is referred to the Uppala library repository for reading and researching this book. The library has registered this book as a miniature Shahnameh 29. Original version of the book, for information on the paintings of this book, reference was made to Islamic art books, especially Ottoman painting, especially to the second Ottoman whose writing was commissioned by him.
Keywords: Ferdowsi Shahnameh, Madhi Shahnameh, 29 Miniatures Shahnameh, Ottoman Miniature Style, Ottoman Art.
Introduction
Shahnameh is one of the greatest literary and historical achievements of Iranians. This book hasn’t only been respected by the Iranian kings, but also by the kings of neighboring countries, who has translated and compiled copies of the Shahnameh of the examples writes outside of Iran cultural and political borders is a Shahnameh kept in the library of Uppsala University is Sweden and ordered by Sultan Ottoman by a person named Madhi who was the story teller of Ottoman kings. Translated into Turkish prose in the years 1024, 1028 AH, this book has been writed the middle of March 1620 AD to Nastaliq script The purpose of the study of these paintings, in general, was first to identify the influence of literature and the art of the Ottoman on its neighbors, and then to identify the effects that these neighbors, had on its drawing, as well as to analyze the painting and research on the original name and identify of this version varies and methods of painting the subject of Ottoman are and their approach to were quite different a grateful Iranian painting at the times covered in colorful flowers and beautiful tree and decorative springs emphasizes the scene. This isn’t the as vast plain or solitary hills the background colors in Ottoman painting are mild and neutral and details such as rivers, bridges, castles, and trees were portrayed only if they were important to the narrator. This Shahnameh with Number O.Cels.1 preserved in the Uppsala university library in Sweden. Information about this book in the Uppsala library cataloging, according to Ali Mohades is as follows:
Paper: Colors various, cream, joined, with two heads to colors of azure, and gold, and other colors. Yellow and black pages, titles to Shangarf; one or more pages of the book have been removed, especially from the introduction (Muhaddis, 2012: 54).
Cover: Exquisite, thick cardboard, multiply, with bergamot and gold trimmings and with motif of flower and bushes, and with thick golden table, and reserved in a new frame. 305 pages with 23 row, and with 15×29 cm. The book size: 39/5×29 cm. This book was published with Nastaligh script in the middle of Rabi Alakhar 1029 AH (March 1620 AD).
Madhi Shahnameh
This Shahnameh with Number O.Cels.1 preserved in the Uppsala university library in Sweden. Information about this book in the Uppsala library cataloging, according to Ali Mohades is as follows:
Paper: Colors various, cream, joined, with two heads to colors of azure, and gold, and other colors. Yellow and black pages, titles to Shangarf; one or more pages of the book have been removed, especially from the introduction (Muhaddis, 2012: 54).
Cover: Exquisite, thick cardboard, multiply, with bergamot and gold trimmings and with motif of flower and bushes, and with thick golden table, and reserved in a new frame. 305 pages with 23 row, and with 15×29 cm. The book size: 39/5×29 cm. This book was published with Nastaligh script in the middle of Rabi Alakhar 1029 AH (March 1620 AD).
Conclusion
The Persian kings created conditions at the court led artists to create beautiful works. But the spirit of the Ottoman court has been different due to the struggle for decolonization. In continuation, the Ottomans were began a wide range of activities in the field of art. The Ottoman artist has been recorded history and geography with realistic visuals of the surroundings such as the clothing of the people and the faces of the rulers. This artist hasn’t been looking for mysticism or religion. Probably for this is it simply blends the two opposing ideas of East and West. In the Ottoman painting, there are exaggerated views of Eastern painting with realistic elements. Elements like perspective that have been taken in account in the drawing of buildings. In some pictures the western face is also visible in the clothes folds. The aim of the Ottoman artist is to express events. The Ottoman artist clearly depicts the culmination of the narrative. In every book, he depicts the king in a palace of glory. These points are also clearly seen in the Madhi Shahnameh (29 miniatures). This Shahnameh was created during the period when the Turkish language tried to dominate. This translation is just like the pictures, is the duplicate direct and devoid of decorating, and expressing the sincerity of the word. The translation of this Shahnameh as mentioned, by a person named “Madhi” has done in the year 1027 AH.
The Shahnameh of Madhi was painted by ottoman artists in the first half of the seventeenth century. Introducing this book and Studying the paintings is important because ottoman paintings has existed in the history of Islamic art, especially in Iran, because there is a close connection between the Safavi and Ottoman governments that can clarify many issues around the two countries and a historical analysis of the historical name and identity of one of the prestigious manuscripts of the Shahnameh is performed in a language other than Persian abroad. This book is writing in Arabic and in Turkish in Istanbul. The Turkish translation book is one of the Iranian texts with a worldwide reputation. The purpose of this study was to identify and understand the art of the Ottoman period and the impact of Iranian culture and literature on that art. Is referred to the Uppala library repository for reading and researching this book. The library has registered this book as a miniature Shahnameh 29. Original version of the book, for information on the paintings of this book, reference was made to Islamic art books, especially Ottoman painting, especially to the second Ottoman whose writing was commissioned by him.
Keywords: Ferdowsi Shahnameh, Madhi Shahnameh, 29 Miniatures Shahnameh, Ottoman Miniature Style, Ottoman Art.
Introduction
Shahnameh is one of the greatest literary and historical achievements of Iranians. This book hasn’t only been respected by the Iranian kings, but also by the kings of neighboring countries, who has translated and compiled copies of the Shahnameh of the examples writes outside of Iran cultural and political borders is a Shahnameh kept in the library of Uppsala University is Sweden and ordered by Sultan Ottoman by a person named Madhi who was the story teller of Ottoman kings. Translated into Turkish prose in the years 1024, 1028 AH, this book has been writed the middle of March 1620 AD to Nastaliq script The purpose of the study of these paintings, in general, was first to identify the influence of literature and the art of the Ottoman on its neighbors, and then to identify the effects that these neighbors, had on its drawing, as well as to analyze the painting and research on the original name and identify of this version varies and methods of painting the subject of Ottoman are and their approach to were quite different a grateful Iranian painting at the times covered in colorful flowers and beautiful tree and decorative springs emphasizes the scene. This isn’t the as vast plain or solitary hills the background colors in Ottoman painting are mild and neutral and details such as rivers, bridges, castles, and trees were portrayed only if they were important to the narrator. This Shahnameh with Number O.Cels.1 preserved in the Uppsala university library in Sweden. Information about this book in the Uppsala library cataloging, according to Ali Mohades is as follows:
Paper: Colors various, cream, joined, with two heads to colors of azure, and gold, and other colors. Yellow and black pages, titles to Shangarf; one or more pages of the book have been removed, especially from the introduction (Muhaddis, 2012: 54).
Cover: Exquisite, thick cardboard, multiply, with bergamot and gold trimmings and with motif of flower and bushes, and with thick golden table, and reserved in a new frame. 305 pages with 23 row, and with 15×29 cm. The book size: 39/5×29 cm. This book was published with Nastaligh script in the middle of Rabi Alakhar 1029 AH (March 1620 AD).
Madhi Shahnameh
This Shahnameh with Number O.Cels.1 preserved in the Uppsala university library in Sweden. Information about this book in the Uppsala library cataloging, according to Ali Mohades is as follows:
Paper: Colors various, cream, joined, with two heads to colors of azure, and gold, and other colors. Yellow and black pages, titles to Shangarf; one or more pages of the book have been removed, especially from the introduction (Muhaddis, 2012: 54).
Cover: Exquisite, thick cardboard, multiply, with bergamot and gold trimmings and with motif of flower and bushes, and with thick golden table, and reserved in a new frame. 305 pages with 23 row, and with 15×29 cm. The book size: 39/5×29 cm. This book was published with Nastaligh script in the middle of Rabi Alakhar 1029 AH (March 1620 AD).
Conclusion
The Persian kings created conditions at the court led artists to create beautiful works. But the spirit of the Ottoman court has been different due to the struggle for decolonization. In continuation, the Ottomans were began a wide range of activities in the field of art. The Ottoman artist has been recorded history and geography with realistic visuals of the surroundings such as the clothing of the people and the faces of the rulers. This artist hasn’t been looking for mysticism or religion. Probably for this is it simply blends the two opposing ideas of East and West. In the Ottoman painting, there are exaggerated views of Eastern painting with realistic elements. Elements like perspective that have been taken in account in the drawing of buildings. In some pictures the western face is also visible in the clothes folds. The aim of the Ottoman artist is to express events. The Ottoman artist clearly depicts the culmination of the narrative. In every book, he depicts the king in a palace of glory. These points are also clearly seen in the Madhi Shahnameh (29 miniatures). This Shahnameh was created during the period when the Turkish language tried to dominate. This translation is just like the pictures, is the duplicate direct and devoid of decorating, and expressing the sincerity of the word. The translation of this Shahnameh as mentioned, by a person named “Madhi” has done in the year 1027 AH.
Ali Salmani, Milad Hatef,
year 5, Issue 18 (3-2022)
year 5, Issue 18 (3-2022)
Abstract
Abstract
The story of Zal and Simorgh is one of the interesting subjects of Shahnameh that has been illustrated many times by painters in different periods. Simorgh appears in Shahnameh with its legendary features. However, there is a close relationship between these features and the characteristics of a number of other creatures in the history of Iranian mythology. Simorgh acts like a mysterious animal in the shamanic religion and breeds Zal like a novice shaman in nature. Zal is sometimes depicted with a veil and sometimes without a veil and naked. Also, in terms of location, Zal is sometimes designed to ride on Simorgh’s back or in his arms or on the plain and on top of a mountain in Simorgh’s nest. The composition of the drawings is such that the further we go, the more acceptable and eye-catching order we see in the drawings. Considering the systematic and hierarchical study of Zal and Simorgh paintings from the Ilkhani to Safavi periods, the approach of artists in depicting the epic aspects of the story and the romantic and spiritual atmosphere that prevails is a point that should be considered in the present study. Let us. The use of common elements in the paintings such as trees, mountains and plains shows the definition of a special framework in “depicting” the story of Zal and Simorgh. This descriptive-analytical method and with a historical approach to the paintings of Zal and Simorgh illustrated in various Shahnamehs has reached the conclusion that in each painting, the influence of the school of each period can be clearly seen and also the elements used in the paintings are almost similar to each other.
Keywords: Shahnameh, Iranian painting, Zal, Simorgh.
Introduction
In this research, the paintings of Zal and Simorgh in different Shahnamehs from the Ilkhanid period to the end of the Safavid period, which have been illustrated by artists, are examined. In this study, we have tried to answer questions such as how the paintings are executed, how they are painted and the elements of these paintings are combined.
Research method: This research uses a descriptive-analytical method and a historical approach to study the paintings of Zal and Simorgh that have been illustrated in different Shahnamehs. Also, information was collected by library method and authoritative academic dissertations, articles and websites contributed to advancing the objectives of this study.
The subject of Zal and Simorgh has been discussed in articles which are: “The opposition of nature and culture in the painting of Zal and Simorgh” by Zahra Rahnavard (2009) in which the paintings have been studied in a symbolic framework. In the article “History of Simorgh in Ancient Iran” (2016), the cultural roots of Simorgh in Iran and its nomenclature have been studied and in the article “A Look at the Forms of Rashida Shahnameh Paintings” Pakzad (2014) Rashida Shahnameh Paintings Are. Also, in the article “Study of Shamanism and other spells in the story of Rostam and Esfandiar” written by Aminipour (2017), the story of Zal’s birth and how he became a shaman has been studied.
Conclusion
According to the mentioned contents, the following results have been obtained;
1. Zal and Simorgh paintings of the first school of Tabriz in the patriarchal period have been somewhat influenced by Chinese art traditions. The rocks are very simply drawn, showing the species of abstraction. Zal is depicted with human cover and in Simorgh design, the effect of Chinese painting is mainly observed.
2. In Isfahan, the patriarchal period is generally characterized by raw abstraction. Simorgh free from splendor are designed naked. The rocks are depicted symbolically. In general, the division of the painting space into four parts, including Zal and Simorgh at the top of the painting, and rabbits and statues at the bottom, has achieved a relatively eye-catching order.
3. In the Shiraz school of the Al-Inju period, large engravings and a uniform golden background are evident. Zal is depicted in white and Simorgh with golden feathers and a dark beige head.
4. In the Shiraz school of the Al-Muzaffar period, a very simple composition can be seen by dividing the space into two parts, Zal, Simorgh and caravans. In general, the background of the painting is divided into two parts under the influence of composition by turquoise and gold colors. Zal riding on Simorgh are naked and Simorgh are depicted in abstract ways.
5. The Herat school of the Baysanghar period was like a launching pad in Iranian painting. There is no sign of abstraction in the painting. The artist has creatively balanced the painting. Zal and Simorgh in the center of the image, the tree and Sam on the right and the rocks on the left create a dynamic balance image. Unusual colors and the shape of the rocks indicate the evolution of painting in this period.
6. The most basic feature of the Isfahan school was the artist’s interest in showing the movement of statues, which aesthetically considered the wavy, twisted and curved Islamic form in relation to all the elements of the subject. In the graphic used in this school, the method is used. Zal is standing in front of Sam with white cups, red hair, holding hands. The splendor of the tree in this painting, unlike other paintings, is noticeable. The rocks are dimmer and occupy a small part of the image.
7. In the painting related to Qazvin school, a completely different atmosphere is seen from other paintings. Simorgh nest can be seen on the top of a very tall tree that stretches from the middle of a cliff. Zal is in the arms of Simorgh and Simorgh itself is depicted with warm colored wings and cold colored feathers. The sharp shape of the rocks makes Simorgh’s nest invincible.
8. The peak of glory, taste and creativity of an artist can be seen in the painting done in Isfahan school. In general, the composition in this painting and its masterful coloring have created a dreamy atmosphere consisting of four chapters. The sponge rocks on which the Simorgh nest is located, reflect the talent of Fayyaz Negargar as much as possible.
9. In this painting, there is no sign of the splendid decorations of the Isfahan school. It can be admitted that there is a kind of rawness in the whole image. Simorgh, while flying from his lair, embraces Zal and returns him to his father Sam. Also, most of the image space is covered by rocks and mountains.
10. A beautiful and regular work, Zal and Sam are depicted in two corners of the painting, facing each other, one riding on the back of Simorgh and one on the plain. Rocks play a lesser role, although they cover about half of the image.
11. The use of cool colors in depicting Simorgh and the light colors of rocks and mountains, which are all white, and the uniform dark background of the plain is noticeable. Zal is also depicted on top of rocks and naked with white hair.
12. A clear example of a masterpiece of Iranian painting that was created in the school of Tabriz II. Simorgh’s masterful design and painting is a manifestation of his glory and awe. The color of the rocks is also in harmony with the colors used in Simorgh and is reminiscent of sea waves.
In general, Zal and Simorgh paintings have a similar generality in terms of visual structure and execution style, but the color scheme of the elements has been dramatically and fundamentally different and has been influenced by the school of time and the taste of the painter.
Gholamreza Shamloo, Ali Salmani, Davoud Mirzaei,
year 9, Issue 34 (3-2026)
year 9, Issue 34 (3-2026)
Abstract
Abstract
The Baysunghur Sahnameh and the Shahnameh of Shah Tahmasb have rightly been considered as two unique artistic masterpieces in the history of Iranian painting. To find out the pure aesthetic values of these two versions, the best method that can be used is the method of formalistic analysis. In the formalist approach, what is important is the analysis of formal visual elements that painters have used to convey an aesthetic feeling or emotion. Therefore, with a formalistic approach, this research examines two versions of the same story, that is, “Esfandiyar Slays Arjasp” in these two Shahnameh. Obviously, in this research, elements such as line, shape, color and in general the design and composition of these paintings have been subjected to formal analysis. Based on this, the current research has clearly sought to answer this question: in terms of the formalist approach, what are the similarities and differences between these two common images of Baysunghur and Shah Tehamasb Shahnameh? Obviously, in order to answer this question, what are the main features of the painting “Esfandiyar Slays Arjasp” in the two versions of Baysunghur and Shah Tahmasb based on the formalist approach? By comparing the mentioned paintings, it was found that The Baysunghur Sahnameh is richer than Shahnameh of Shah Tahmasb in terms of the use of lines appropriate to the nature of the story, the clear depiction of the story, and the symbolic treatment of the story. Of course, it is worth mentioning that, on the other hand, Shahnameh of Shah Tahmasb presents a kind of decorative representation of the story, and therefore, it tried to make the story appear dramatic. The method of the present research is descriptive-analytical based on comparing the illustrations of two versions of Shahnameh, and the data collection method was library.
Keywords: Form, Formalism, Formalist Analysis, The Baysunghur Sahnameh, The Shahnameh of Shah Tahmasb.
Introduction
In Iran’s long tradition of book design, perhaps no work has been illustrated as much as Ferdowsi’s Shahnameh. Meanwhile, in the Timurid and Safavid periods, due to the rise of art-loving and tasteful rulers and the favorable social conditions, we witness the creation of the most valuable illustrated Shahnamehs. Undoubtedly, the most prominent illustrated Shahnameh of the Timurid period is the “the Baysunghur Sahnameh” and the masterpiece of the Safavid period is the “the Shahnameh of Shah Tahmasb”. These two irreplaceable masterpieces have been a suitable vehicle for the emergence of Iranian-Islamic aesthetics. It seems that no approach like the formalist approach can explain the characteristics of these two masterpieces purely in terms of art and aesthetics.
Accordingly, formalism is an approach to art that emphasizes the importance of form and its priority over content as the source of the subjective attraction of the work. Therefore, any formalist analysis of works of art essentially considers the aesthetic effects created by the design components. These components, which are called formal elements, form the basis of the artist’s visual language. These components can be categorized as follows: line, overall shape, space, color, and light and dark. These components themselves can also be considered to include elements such as balance, order and proportion, and pattern and rhythm which, together with the first components, create specific reactions in the audience. The artist brings all these components and elements together in an arrangement that is called composition. Having said that, our formalist analysis of the common selected image in the two Shahnamehs of Baysunghur and Shah Tahmasb in this research will proceed based on the above components and elements, and in the conclusion section, the necessary results will be obtained from the comparison of these components in the two mentioned versions.
Discussion
In general, the predominant use of dry, diagonal and angled lines in Baysanghari’s Shahnameh has caused the atmosphere of confrontation and battle to be shown well. While the soft and gentle lines of the Shahnameh of Shah Tahmasb are not very similar to the displayed subject. The asymmetric composition chosen by painters of the Baysunghur Sahnameh to show this story is completely in harmony with the real atmosphere of the battle. A battle which, according to the text of the Shahnameh, is not an ordinary battle of the type of wars fought between two armies; This battle is mostly a secret operation and it goes step by step according to a predetermined plan and therefore it is very complicated and calculated. Breaking the space through the masterly display of the fortress walls with sharp diagonal lines, speaks of the creative courage of the painters of this version and shows well the difficulty of entering the fortress and the difficulty of mastering it during the battle. It is precisely for this reason that Esfandiyar is forced to enter the fortress as a merchant delegation. In addition, the fortress described in the story was very strong (it was built only with stones) and it was located in a mountainous area. The painter has succeeded in creating the feeling of encountering a complex and unattainable building in the audience with an extremely masterful display of an uneven castle with a complex plan and steps. On the other hand, the composition of Tehamasbi’s painting is almost symmetrical and balanced; It is as if the battle depicted is a normal battle where the people who are at war are concerned about being in a specific place that the painter has determined for them to maintain the balance of the scene; If a war is depicted in this scene, this war is not so real, but it is completely staged and decorated.
Conclusion
The findings of this research with regard to the main question, i.e. the question that “in terms of the formalist approach, what are the similarities and differences between these two common images of The Baysunghur Sahnameh and the Shahnameh of Shah Tahmasb?” It is supposed to:
- In terms of the adaptation of the illustrated story with the verses of the Shahnameh, it can be claimed that the image belonging to the Shahnameh of Shah Tahmasb is more bound to the verses of the Shahnameh. The display of time and clothes of merchants for Esfandiyar’ soldiers in Shah Tehamasb’s images confirms this claim. But none of these things are shown in the image belonging to The Baysunghur Sahnameh. Of course, in the show of the strong and tangled fortress, Baysunghur’s image is more bound to the verses of the Shahnameh.
- In the painting belonging to the Shahnameh of Shah Tahmasb, the story of Arjasab’s murder is depicted by showing his throat being cut by Esfandiyar, while in Baysunghur’s painting, the mentioned theme is shown by pulling Arjasab down from the throne to the ground. Therefore, it is possible to refer to the symbolic and metaphorical treatment of The Baysunghur’s image, in contrast to the explicit and direct expression of Shah Tehamasbi’s image.
- The composition of Baysunghur’s image is completely in harmony with the subject of the story, while the composition of Shah Tehamasb’s image is completely balanced and symmetrical and does not match the depiction of a real war.
- The Baysunghur Sahnameh painter has deliberately and at the same time boldly broken up the space to show the complex architecture, mountainous location, tangled and impassable nature of Arjasab fortress. On the other hand, the space shown in shah Tehamasb version is almost uniform, and apparently only a small part of the complex space of Baysanghari’s image was chosen for it. For this reason, The Baysunghur Sahnameh painter has acted more boldly and creatively.
- The main concern of the painter of The Baysunghur Sahnameh painting is the clear and clear depiction of the story, and for this reason, the image is divided into three parts from the bottom to the top, which clearly shows the story step by step, both with uniform colors and close to each other. Almost the same clothes (two types of military uniforms) have been used, and it has been avoided to show any extra or dramatic elements. On the other hand, painting of the Shahnameh of Shah Tahmasb has more emotional and dramatic content and apparently has a great desire to dramatize the story and show it decoratively.
The Baysunghur Sahnameh and the Shahnameh of Shah Tahmasb have rightly been considered as two unique artistic masterpieces in the history of Iranian painting. To find out the pure aesthetic values of these two versions, the best method that can be used is the method of formalistic analysis. In the formalist approach, what is important is the analysis of formal visual elements that painters have used to convey an aesthetic feeling or emotion. Therefore, with a formalistic approach, this research examines two versions of the same story, that is, “Esfandiyar Slays Arjasp” in these two Shahnameh. Obviously, in this research, elements such as line, shape, color and in general the design and composition of these paintings have been subjected to formal analysis. Based on this, the current research has clearly sought to answer this question: in terms of the formalist approach, what are the similarities and differences between these two common images of Baysunghur and Shah Tehamasb Shahnameh? Obviously, in order to answer this question, what are the main features of the painting “Esfandiyar Slays Arjasp” in the two versions of Baysunghur and Shah Tahmasb based on the formalist approach? By comparing the mentioned paintings, it was found that The Baysunghur Sahnameh is richer than Shahnameh of Shah Tahmasb in terms of the use of lines appropriate to the nature of the story, the clear depiction of the story, and the symbolic treatment of the story. Of course, it is worth mentioning that, on the other hand, Shahnameh of Shah Tahmasb presents a kind of decorative representation of the story, and therefore, it tried to make the story appear dramatic. The method of the present research is descriptive-analytical based on comparing the illustrations of two versions of Shahnameh, and the data collection method was library.
Keywords: Form, Formalism, Formalist Analysis, The Baysunghur Sahnameh, The Shahnameh of Shah Tahmasb.
Introduction
In Iran’s long tradition of book design, perhaps no work has been illustrated as much as Ferdowsi’s Shahnameh. Meanwhile, in the Timurid and Safavid periods, due to the rise of art-loving and tasteful rulers and the favorable social conditions, we witness the creation of the most valuable illustrated Shahnamehs. Undoubtedly, the most prominent illustrated Shahnameh of the Timurid period is the “the Baysunghur Sahnameh” and the masterpiece of the Safavid period is the “the Shahnameh of Shah Tahmasb”. These two irreplaceable masterpieces have been a suitable vehicle for the emergence of Iranian-Islamic aesthetics. It seems that no approach like the formalist approach can explain the characteristics of these two masterpieces purely in terms of art and aesthetics.
Accordingly, formalism is an approach to art that emphasizes the importance of form and its priority over content as the source of the subjective attraction of the work. Therefore, any formalist analysis of works of art essentially considers the aesthetic effects created by the design components. These components, which are called formal elements, form the basis of the artist’s visual language. These components can be categorized as follows: line, overall shape, space, color, and light and dark. These components themselves can also be considered to include elements such as balance, order and proportion, and pattern and rhythm which, together with the first components, create specific reactions in the audience. The artist brings all these components and elements together in an arrangement that is called composition. Having said that, our formalist analysis of the common selected image in the two Shahnamehs of Baysunghur and Shah Tahmasb in this research will proceed based on the above components and elements, and in the conclusion section, the necessary results will be obtained from the comparison of these components in the two mentioned versions.
Discussion
In general, the predominant use of dry, diagonal and angled lines in Baysanghari’s Shahnameh has caused the atmosphere of confrontation and battle to be shown well. While the soft and gentle lines of the Shahnameh of Shah Tahmasb are not very similar to the displayed subject. The asymmetric composition chosen by painters of the Baysunghur Sahnameh to show this story is completely in harmony with the real atmosphere of the battle. A battle which, according to the text of the Shahnameh, is not an ordinary battle of the type of wars fought between two armies; This battle is mostly a secret operation and it goes step by step according to a predetermined plan and therefore it is very complicated and calculated. Breaking the space through the masterly display of the fortress walls with sharp diagonal lines, speaks of the creative courage of the painters of this version and shows well the difficulty of entering the fortress and the difficulty of mastering it during the battle. It is precisely for this reason that Esfandiyar is forced to enter the fortress as a merchant delegation. In addition, the fortress described in the story was very strong (it was built only with stones) and it was located in a mountainous area. The painter has succeeded in creating the feeling of encountering a complex and unattainable building in the audience with an extremely masterful display of an uneven castle with a complex plan and steps. On the other hand, the composition of Tehamasbi’s painting is almost symmetrical and balanced; It is as if the battle depicted is a normal battle where the people who are at war are concerned about being in a specific place that the painter has determined for them to maintain the balance of the scene; If a war is depicted in this scene, this war is not so real, but it is completely staged and decorated.
Conclusion
The findings of this research with regard to the main question, i.e. the question that “in terms of the formalist approach, what are the similarities and differences between these two common images of The Baysunghur Sahnameh and the Shahnameh of Shah Tahmasb?” It is supposed to:
- In terms of the adaptation of the illustrated story with the verses of the Shahnameh, it can be claimed that the image belonging to the Shahnameh of Shah Tahmasb is more bound to the verses of the Shahnameh. The display of time and clothes of merchants for Esfandiyar’ soldiers in Shah Tehamasb’s images confirms this claim. But none of these things are shown in the image belonging to The Baysunghur Sahnameh. Of course, in the show of the strong and tangled fortress, Baysunghur’s image is more bound to the verses of the Shahnameh.
- In the painting belonging to the Shahnameh of Shah Tahmasb, the story of Arjasab’s murder is depicted by showing his throat being cut by Esfandiyar, while in Baysunghur’s painting, the mentioned theme is shown by pulling Arjasab down from the throne to the ground. Therefore, it is possible to refer to the symbolic and metaphorical treatment of The Baysunghur’s image, in contrast to the explicit and direct expression of Shah Tehamasbi’s image.
- The composition of Baysunghur’s image is completely in harmony with the subject of the story, while the composition of Shah Tehamasb’s image is completely balanced and symmetrical and does not match the depiction of a real war.
- The Baysunghur Sahnameh painter has deliberately and at the same time boldly broken up the space to show the complex architecture, mountainous location, tangled and impassable nature of Arjasab fortress. On the other hand, the space shown in shah Tehamasb version is almost uniform, and apparently only a small part of the complex space of Baysanghari’s image was chosen for it. For this reason, The Baysunghur Sahnameh painter has acted more boldly and creatively.
- The main concern of the painter of The Baysunghur Sahnameh painting is the clear and clear depiction of the story, and for this reason, the image is divided into three parts from the bottom to the top, which clearly shows the story step by step, both with uniform colors and close to each other. Almost the same clothes (two types of military uniforms) have been used, and it has been avoided to show any extra or dramatic elements. On the other hand, painting of the Shahnameh of Shah Tahmasb has more emotional and dramatic content and apparently has a great desire to dramatize the story and show it decoratively.
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