Ferdowsi's Story of Sohrāb as Depicted in Miniature Paintings by Michael Craig Hillmann

Illustrations of Ferdowsi’s Story of Sohrāb and Rostam Michael Craig Hillmann Rostam and Sohrâb in combat by Nasser Ovissi (b. 1934)

• Ovissi’s painting exhibits stylistic affinities with miniature paintings and incorporates stylized calligraphy into the scene. • The fact that a 1,000-year old tradition of artistic calligraphy and a 700-year old tradition of miniature painting figure significantly in 21st-century Iranian art is a telling piece of cultural import. • The facts that Rostam kills his blameless son Sohrāb and that the fathers of Siyāvash and Esfandyār are also responsible for their sons’ death speak to a theme of son-killing in Ferdowsi’s Shāhnāmeh and Iranian culture. 1

• The two most recent English translations of Ferdowsi’s Shâhnâmeh, Dick Davis’s in 2006 and Ahmad Sadri’s in 2013, feature covers that associate the work with Persian miniature painting.

Kayomars, the world’s first king according to Ferdowsi’s Shāhnāmeh (1010)

Features of Traditional Persian Miniature Paintings • conventional, non-mimetic depictions • figures farther away appearing above figures closer to the viewer. • no shadows/shadowing • transition lines around images • no explicit or implicit source of light • no uncolored or little monochrome space • colored paper • multiple hues of the same color • Chinese/Mongol facial features • clothing of the era in the painting was painted • no realistic proportions of different sorts of figures • no expression on faces • gestures (e.g., finger to mouth) communicating felt emotion 3

Kiyomars/Giyomars, the worldâ&#x20AC;&#x2122;s first king, surrounded by his subjects and wild animals, which were tame in his presence, in the mountainous area where he settled.

â&#x20AC;˘ For most viewers of this miniature painting, four features of it may initially seem foreign and intriguing: (1) the stylized calligraphy that accompanies it and tells the story of which the painting depicts a scene, (2) its setting and subject, (3) the story behind it, and .

(4) the painting style.

Walters Ms. W.600 4

Kayomars, after hearing of the death his son SiÄ mak (right), by Hamid Rhamanian (2013)

Simurgh takes Rostamâ&#x20AC;&#x2122;s father ZÄ l to his mountain nest, Book of Kings, Herat, 1370

Rostam catching Rakhsh from a wild herd, Shâhnâmeh, Shirâz, c.1435, Bodleian Library, Oxford, in Gray, Persian Painting, p. 98. • Rostam’s choice of a horse was careermaking, a paladin’s horse emblematic of his alacrity, determination, and prowess as a warrior.

• In the Iranian version of chess, the knight is called asb [horse] and pawns are called piyâdé [food soldier].

• Parviz Nātel Khānlari’s edition of Ferdowsi’s story of Rostam and Sohrāb (1965/6), a story which figured in Iranian elementary school, high school, and college curricula during the 1960s.

• Sohrāb about to stab Rostam during their second encounter.

Viewers of this slide show might read Martthew Arnold’s Sohrab and Rustum and either the Clinton or the Davis translation of Ferdowsi’s story of Sohrāb before proceeding with the slides.

â&#x20AC;˘ the first page of the Clinton translation

Characters in Ferdowsi’s Story of Sohrāb and Rostam God Ahriman Fate Rostam, Irān’s chief paladin Rakhsh, Rostam’s horse Shāh of Samangān Tahmineh, daughter of the Shāh of Samangān Afrāsiyāb, Shāh of Turān Kay Kāvus, Shāh of Irān Human, Turānian paladin Bāhman, Turānian paladin Hojir, Iranian paladin Gordāfarid Gazhdaham, old Iranian paladin Gudarz , Iranian paladin Giv, Iranian paladin Zāl, Rostam’s father Zhendeh’razm, Gorgān, Iranian paladin Zavāreh, Rostam’s brother Bahrām, Iranian paladin

Sohrāb, Rahmanian 2013

1 • The opening couplets in Parviz Nātel Khānlari’s edition of the story of Rostam and Sohrāb.

2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

Now listen to the story of the battle between Sohrāb and Rostam. You’ve heard about others, hear this as well. It's a story full of tears– sensitive hearts will become angry at Rostam. If a harsh wind springs up from some corner of the world and knocks an unripe citron to the ground, shall we call the wind tyrannical or just? Should we consider it right or wrong? If death is just, then what possibly could be unjust? If it’s just, then what is all this clamor and screaming? Your soul knows nothing about this mystery– You cannot see beyond this veil. All have approached the door of inordinate desire but for no one has this door to secrets opened. Perhaps in departure from this world, you’ll find a better place when you rest in peace in another abode. If death swallows someone and consigns old and young to the earth Why should youth take pleasure in the world, when old age is not the cause of death. In this place for passing through, not a place for tarrying, should death tighten the cinch on the horse of transience, know that it is just and not unjust. When justice visits you, there is no reason to cry out. Now I’ll recount the story of Sohrāb’s warring, how he came to do battle with his father. A story in the discourse of the landed gentry I’m putting into verse from ancient speech From the Zoroastrian priest he recalled it thusly that Rostam arose one morning. was sad at heart and got ready to hunt…

Appreciating Art Objects: A Checklist of Terms

• Rostam rests after hunting near the Turanian border.

This and any following framed slides come from Farhad Dokhani’s PowerPoint presentation called ShāhnāmehFerdowsi (2009).

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color and hue (= gradation of color) complementary/contrasting colors chiaroscuro shading, non-shading (light source) shapes line, transition lines pattern(s) composition symmetry/asymmetry/balance repeating shapes repeating patterns texture(s) composition that focuses eyes movement/flow that guides eyes movement that keeps eyes in the frame proportions of figures/objects juxtapositioning of forms/objects skillfulness of production style hyperbole, symbolism expectation/fulfillment expectation/surprise defamiliarization of the familiar communication of freshness/newness visual impact illusion of three dimensions lack of/relation to the “real” world appeal to the imagination communication of experience evocation of an emotion non/communication of message non/communication of culture content spontaneity vis-à-vis regularity character un/awareness of the viewer

â&#x20AC;˘ Rostam rests after hunting near the Turanian border.

• Rostam rests after hunting and feasting on the wild boar he killed, while several horsemen find and steal his horse Rakhsh.

• This 2013 miniature painting by Hamid Rahmanian is simpler and less complicated than most traditional Persian paintings? What factors might contribute to this fact? …………………………… …………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………

â&#x20AC;˘ Tahminah visits Rostamâ&#x20AC;&#x2122;s chamber.

â&#x20AC;˘ Tamineh visits Rostamâ&#x20AC;&#x2122;s chamber.

Rostam leaving Tahmineh after their night together

Sohrab begins his career as a warrior, seeking to find his father.

When his mother Tahimineh told him who his father was: The bold Sohrāb replied, “In all the world No man could keep a secret such as this. From ancient times till now, those great in war Recite for all the tales of brave Rostam. When I have such a warlike lineage, For me to keep it hidden can’t be right. Now from among the warlike Turks will I Amass an army boundless as the sea I’ll drive Kāvus from all his throne, And from Iran I’ll scour all trace of Tus. To brave Rostam I’ll give throne, mace, crown, And seat him in the place of Shāh Kāvus. Then from Iran will I attack Turan, And here confront the shah, Afrasiyāb. I’ll rout his army and I’ll seize his throne. I’ll thrust my lance’s tip above the sun. From when Rostam’s the father, I the son, Who else in all the world should wear a crown? When sun an moon illuminate the sky, What need is here for stars to flaunt their crowns?” From every side an army flocked to him, Who all were noble men, brave swordsmen too. translation by Jerome W. Clinton

SohrÄ b and GordÄ farid in combat outside the White Fortress

Appreciating Art Objects: A Checklist of Terms

Sohrāb and Tahmineh in combat

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â&#x20AC;˘ Rostam in combat with GordÄ farid

SohrÄ b looiking for his fatherâ&#x20AC;&#x2122;s tent in the Iranian encampment

Rostam and SohrÄ b begin their battle.

• The first of three combats between Rostam and Sohrāb.

Appreciating Art Objects: A Checklist of Terms • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

• After their first battle, Rostam attacks Sohrāb’s army in frustration. Sohrāb, in turn, retaliates by attacking Rostam’s forces.

• Sohrāb overcomes Rostam in their second combat. See Slide #7.

• Slide 28. Hamid Rahmanian’s 2013 depiction of the second encounter between Sohrāb and Rostam.

• The title of this 2002 Persian animation film vis-à-vis the filicide with which Ferdowsi’s story of Sohrâb and Rostam ends suggests an Iranian patriarchal order in which the blood of the next generation can rejuvenate the fathers in power. • In anticipation of a discussion of this PowerPoint presentation, Persian Art course students should read a plot summary of Ferdowsi’s Shāhnāmeh and watch the animation film called The Rebirth of Rostam.

• One Iranian family may name a son Sohrāb and another family may name a son Rostam. Some readers blame Rostam for the death of his son, while others may blame Sohrāb for his own death. Others blame fate for Sohrāb’s death at the hands of his father Rostam on fate. • In any case, Sohrāb’s death helped perpetuate Iranian monarchy and patriarchy, the latter still reigning in Iran, while many anti-patriarchal Iranian readers still take pride in Rostam’s exploits. • In any case, The Rebirth of Rostam raises questions about the ending of the story.

â&#x20AC;˘ The beginning of third encounter between SohrÄ b and Rostam.

Appreciating Art Objects: A Checklist of Terms

• Rostam fatally stabs Sohrāb in their third encounter.

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• What de this painting depict? …………………………………………………. …………………………………………………. ………………………………………………….

Appreciating Art Objects: A Checklist of Terms

• Rostam mourns Sohrāb.

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Walters Ms. W.600, 16th century

• As fate, an active force in traditional Iran, would have it. Rostam, who has hidden his identity so that the Iranians could pretend he was alive should he die at the hands of this formidable, new and young adversary, his own son Sohrâb, whom he does not recognize. • Also as fate would have it, in their third, one-on-one encounter, Rostam overcomes Sohrâb and slays him with a dagger. • Much about this tragic, dramatic scene is decorative, the perfect balance and symmetry of the human and animal figures, including the battle drummers and trumpeter atop the mountain behind the combatants. It’s as if what has happened is part of a patriarchal universe as it should be, the Iranian patriarchs, king and paladin emerging victorious and energized by the blood of the next generation.

Appreciating Art Objects: A Checklist of Terms • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

“Rostam and his horse Rakhsh trapped in the pit of spears” Shâhnāmeh, Qazvin style, 1586 Persian Miniature Painting (1983, Plate 16) by Norah M. Titley

• In a Persian poem called “Rostam’s Eighth Trial”–he is famous for seven trials in the Shāhnāmeh–, prominent modernist Iranian poet Mehdi Akhavān-e Sāles (1928-1990) describes Rostam’s death and says that he could have escaped the pit and lived, but when he looked over at Rakhsh and saw that his steed was mortally wounded, he knew that his time was up.