1. Introduction
Shahnameh of Tahmasp (I) is one of the finest illustrated manuscripts in all periods of Iranian history and even world history. This edition is unique in terms of its illustration techniques and the high quality of its design elements, its layout technique and its very large size. Unfortunately, was not purchased all at once during the second Pahlavi period and ultimately suffered a tragic fate.
Research Question(s)
What were the reasons for the artist's interference with Quranic verses and the creation of special adhkar?
2. Literature Review
Numerous researchers have analyzed the depictions of the confrontation between Fereydoun and Zahhak from various angles, the most relevant of which, in chronological order, are as follows: Moludi Arani (2022) in his article "Ferydoun's Victory over Zahhak: A Study of a Pictorial Pattern as an Independent Narrative of Ferdowsi's Shahnameh in Cultural Materials of the Sixth to Eighth Centuries AH" believes that the pictorial pattern of a bull rider with a mace, which represents the narrative of Fereydoun's capture of Zahhak, is an independent narrative of Ferdowsi's Shahnameh, a characteristic that is never mentioned in Ferdowsi's narrative, but is emphasized in numerous other written sources. In general, most researchers, when examining this visual narrative, have not taken into account the spirit of the time when these works were produced and the breadth and depth of Iranian epics in the collective memory of the society of that period. They have simply attributed the model of Fereydoun riding a cow to the Shahnameh by looking at history from today and due to the great fame of the Shahnameh. Arabbeigi (2017) in his article “An Analysis of Images of Fereydoun’s Victory over Zahhak in Iranian Pottery, 6th and 7th Centuries AH” believes that the images of pottery from the 6th and 7th centuries AH in Iran on the subject of Fereydoun taking Zahhak to Mount Damavand were simultaneously influenced by written, historical and oral narratives, and no narratives comparable to these images can be found in any of the written sources. However, the most complete written account of the story of Fereydoun's victory over Zahhak is the Shahnameh, and although it does not correspond to the images under study, its indirect influence on the images can be observed. The Shahnameh, by having a favorable position in the literature of that period, has given double credibility to the account of Fereydoun's victory over Zahhak as a suitable subject for illustration. Bani Asadi (2014) states in his article "A Study of Illustrations Related to the Story of Zahhak in Shah Tahmaspi's Shahnameh from the Perspective of Illustration" that the illustrators of the Shahnameh, respecting the tradition and aesthetics of their era, have achieved this issue: each illustration, apart from being an independent work, is a link in a visual chain that reflects a specific text, and despite the presence of multiple illustrators, the use of common visual elements has brought the illustrations closer together and created continuity and visual coherence in the illustrations under study, which are considered as a complete illustrated narrative. In his article “A Comparative Study of the Visual Structure of the Battle of Fereydoun and Zahhak in the Schools of the Safavid Period,” Kazemi (2012) analyzes the structural aspects of the aforementioned paintings and acknowledges that the themes of all the paintings under study are heroic, and that diversity and mobility are seen in most of the works, and that the figures are connected. In sum, none of the aforementioned studies mentions the connection between the text in the painting (whether related to the building or not) and the story of the painting, and the lack of such research is quite evident.
3. Methodology
In this study, we examine the Quranic inscriptions in one of the paintings of this Shahnameh, entitled "Fereydoun Strikes to Zahhak", We have investigated the mainly logical reasons for the connection between the story of the painting and the Quranic inscriptions, and we have discussed the reasons for the artist's intervention in transforming Quranic verses into dhikr and using it in the calligraphic inscriptions associated with the building in the painting. This issue may seem simple and superficial, but it has deep religious and mystical implications and provide a more reliable answer. The present study is qualitative and has analyzed the painting in question with a descriptive-analytical approach.
4. Results
The results of the study indicate that admonitions, and phrases used in the painting, we realize that the vast majority of phrases taken from the Holy Quran, such as «یَا مُفَتَّحَ الْأَبْوَابُ», are mainly nominal sentences, and as we know from the perspective of Arabic grammar, nominal sentences (sentences without a verb) have higher and greater power, extension, and stability than verbal sentences (sentences with a verb). Therefore, they were used by architects and builders in their buildings due to the aforementioned superiority, and painters have also reflected this. In this painting, Sultan Muhammad, by mentioning the phrase «یَا مُفَتَّحَ الْأَبْوَابُ» taken from verse 50 of the Holy Surah (Ṣād) above the door through which Fereydoun entered, emphasizes God’s support in Fereydoun’s victory and declares God (in the form of Soroush’s inspiration to Fereydoun) to be the cause of his victory. As can be seen, the connection between the phrase used and its application in the painting is quite clear and evident, and the artist identifies with Fereydoun and wishes him victory. Sultan Muhammad, in accordance with his needs, by mentioning “یا” at the beginning of the verse and deleting «ـةً» [from“مُفَتَّحَةً”] and“, “لَهُمُ” has achieved the phrase “O you who open the doors” which has a metaphorical connotation and in this scene God is addressed and present in the scene (see: Table 4).
5. Conclusion
In summary, it can be said that the illustrator used the adhkar taken from the verses of the Holy Quran consciously and in order to identify with the protagonist of the story (Fereydoun).