From a dispersed copy of the Ilkhanid manuscript referred to as the Great Mongol Shahnama, this folio depicts the funeral procession of the Persian hero Isfandiyar. The bier is accompanied by a group of mourners, some wailing and pulling at their hair, which is worn loose as a sign of mourning. The painting technique, with its strong linear quality and thin washes of color, recalls contemporary Chinese brush painting.
Blending Iranian myth, Mongol traditions, and Chinese motifs, this folio bears witness to the rich artistic and cultural exchanges that occurred in Iran under the Ilkhanid dynasty. It comes from a dispersed copy of the Shahnama (Book of Kings) known as the Great Mongol Shahnama, and illustrates the funeral procession of Isfandiyar, one of the central characters of the epic. King Gushtasp ordered Isfandiyar to bring the hero Rustam to his court in chains (with the promise of making him king). Reluctant to do this because of Rustam’s longstanding loyalty to the crown of Iran, Isfandiyar attempted to convince him to return to Iran. Rustam’s refusal to comply with the royal order led to a fight that ended in the death of Isfandiyar. As in other paintings in this manuscript, the illustration closely follows the narrative, but it is also infused with details taken from contemporary Mongol mourning customs. Mongol historical sources have noted that funerary processions were opened by the horse of the deceased with the saddle placed in reverse. Fittingly, the image shows Isfandiyar’s black horse in front of the cortege, with his tail cut and the saddle upturned to signal mourning. The coffin, said to have been wrapped in Chinese silk and carried by mules, is accordingly depicted, escorted by a large group of mourners whose animated gestures and unbalanced postures effectively communicate the profound grief caused by the prince’s death. The monochromatic palette of the scene further draws the viewer’s attention to the individual expressions of the participants, enhancing the dramatic quality of the representation. The Great Mongol Shahnama was commissioned by the Ilkhanid ruler Abu Sa‘id (r. 1317–35) toward the end of his reign. The codex was never completed, but in its final version it would have been in two volumes and contained some 280 folios and between 180 and 200 illustrations, making it one of the most richly illustrated codices in the history of the Persianate arts of the book. Some of the paintings in the manuscript and their association with contemporary Mongol practices have led scholars to identify it with the Abu Sa‘idnama, a saga about the reign of the Ilkhanid ruler that is mentioned in later sources but is now lost. Although intriguing, this interpretation is not universally accepted. It has been suggested that the Ilkhanids’ interest in the Persian epic tradition was a way for them to assimilate local culture into their own and to reinforce their claim as the legitimate rulers of Iran. Only a few decades after the Ilkhanids’ accession, scenes and verses from the Shahnama were being used on luster tiles to decorate the Ilkhanid summer residence at Takht-i Sulaiman, in northwestern Iran. At the same time, through the adoption of the local epic tradition, the Ilkhanids embraced a practice that is attested in earlier times and that linked power to myth. The recurrence of the Shahnama in their cultural production ultimately demonstrates how the epic offered a formula for idealized kingship that articulated the aspirations of many generations of rulers. Francesca Leoni in [Ekhtiar, Soucek, Canby, and Haidar 2011] Footnotes: 1. As first noted by Grabar and Blair 1980, p. 100. 2. Blair, Sheila S. "On the Track of the ‘Demotte’ Shahnama Manuscript." In Les manuscrits du Moyen-Orient: Essais de codicologie et de paléographie; Actes du Colloque d’Istanbul (Istanbul, 26–29 mai 1986), edited by Francois Déroche, pp. 125–31. Varia Turcica VIII. Istanbul and Paris, 1989. 3. Another profusely illustrated version of the Shahnama was produced for Shah Tahmasp (r. 1524–76) starting in the 1520s. Seventy-seven folios of this manuscript are currently in the Metropolitan Museum (acc. nos. 1970.301.01–77). 4. In the preface for the album assembled for the Safavid prince Bahram Mirza in 1544, the Abu Sa‘idnama is mentioned by Dust Muhammad in relation to the painter Ahmad Musa; see Thackston, W[heeler] M. Album Prefaces and Other Documents on the History of Calligraphers and Painters. Studies and Sources in Islamic Art and Architecture, 10. Leiden and Boston, 2001, p. 12. The interpretation of the Great Mongol Shahnama as Abu Sa‘idnama was proposed in Soudavar, Abolala. "The Saga of Abu Sa‘id Bahador Khan: The Abu- Sa‘idname." In The Court of the Il-khans, 1290 – 1340, edited by Julian Raby and Teresa Fitzherbert, pp. 95 – 218. Oxford Studies in Islamic Art, 12. Oxford, 1996. 5. Among the various critiques of this interpretation, see Sheila S. Blair in Hillenbrand 2004, esp. pp. 46–47. 6. According to the thirteenth-century historian Ibn Bibi, ‘Ala’ al-Din Kai Qubad I had quotations from the Shahnama on the walls of his palaces in Konya and Sivas (Carboni and Komaroff 2002, p. 102).
Inscription: In Persian in nasta’liq script verses from the Shāhnāma of Ferdowsī , heading above گفتار اندر اندرز کردن اسفندیار رستم را از بهر بهمن (story of the advice of Isfandīyār to Rustam regarding Bahman) and heading below گفتار اندر آگاهي یافتن گشتاسب از کشته شدن اسفندیار (story of Gushtasp's hearing about Isfandiyar's death) The title of the story on the page itself is آوردن تابوت اسفندیار (The bringining of …᾽Isfandīyār's cenotaph).
(Abu’l-Qasim Feardowsi,The Shāhnāmeh (The book of kings), ed, Djalal Khalqi- Muṭlagh, Mazda publishers in association with Bibliotheca Persica, Costa Mesa, California and New York, 1997, vol. 5, pp. 424-27)
[ Demotte, Inc., New York, by 1926–33; sold to MMA]
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