3. Objects
I have chosen King Zahhak’s throne in the manuscript of Shahnameh as my main object of interest, in order to emphasize the representation of arrogance and downfall of the kings (https://www.metmuseum.org/art/collection/search/452113?searchField=All&sortBy=Relevance&ft=manuscript+king+zahhak+shahnameh&offset=0&rpp=20&pos=8 ). This is a highly detailed manuscript with an abundant use of colors, which was made in ca. 1524, in Iran, Tabriz. King Zahhak is laying down on the ground in shock with his serpents coming out of his shoulders, after hearing that Faridun is coming to kill him. There are many people drawn doing different things in the manuscript, such as: the king’s close associates trying to take care of the king, guards looking into the throne room, and people whispering and gossiping outside. They are all drawn with full of characteristics and colors. The throne is mostly made out of gold, and it has a decorative enclosure and a roof, which makes the throne look like a small room for the king. The color blue is also used, and many pillows and carpets are seen inside. This emphasis on luxury and beauty, and the amount of work put into the detail of the decoration represent the power king Zahhak held over his people after ruling his kingdom with the horrifying massacre. The reason why I chose this is that I found a parallel between the boar headed corpse and king Zahhak in this particular situation. They both have elements of monster anatomy in their bodies, and also they are lying in front of or on top of their thrones in devastation, surrounded by their marvelous treasures and wealth. King Zahhak has not died yet in this manuscript, however, he is anticipating his inevitable death, which makes these two figures of kings even more similar. The text never explains why the corpse had the head of a boar in the palace of topaz, but I can assume that king Zahhak’s case can be one of the examples. These similarities between them support my argument of the prediction and warning of Sekandar’s death represented by the boar headed corpse.
For one of my related objects, I have chosen a golden throne (https://www.britishmuseum.org/collection/object/A_1960-0719-1) which was made in Java. It is made of gold and gilded bronze with a backrest with an exhaustive lion decoration. There is a place where possibly a gem stone could be put in on the top of the backrest. The throne is supported by two lions and makara heads, which is a water monster of Hindu religious myth (https://www.merriam-webster.com/dictionary/makara). There are some parts where the golden color has come off, but overall the condition of this throne is amazingly good, considering the production date which is between the 9th and 10th centuries. The detailed decorations and extravagant gold color show significant wealth and power, however, the height of this throne is about twelve centimeters, which suggests that it was made for an important statue or a figure. Also, the throne does not look like it was designed for average size people to sit on, so I believe it was used primarily to represent the power, wealth, and authority of the figure. I have found many other buddhist statues of gorgeous thrones used by buddha from countries that practiced Buddhism in the 10th century, such as: India, Nepal, Tibet, and China (https://www.britishmuseum.org/collection/search?keyword=throne&dateFrom=900&eraFrom=ad&dateTo=1010&eraTo=ad&view=grid&sort=object_name__asc&page=1). It is possible that this throne was used for supporting the statue of Buddha. Nevertheless, this object represents power and wealth, considering the decorations and its material which is a similar representation as king Zahhak’s throne. Moreover, I think that seeing an actual throne will provide a more genuine and authentic feeling to the drawn thrones on the manuscripts.
The other related object is a throne used by Kay Khusrau in a highly detailed manuscript of Shahnameh (https://www.britishmuseum.org/collection/object/W_1992-0507-0-1) which was made in ca. 1493-1494, in Iran, Gilan. So many colors are also used in this manuscript, such as: gold, blue, purple, black, white, red, yellow, pink, and green. The text above the drawing is in Iranian, and there is a center column written in a deep red color. In this manuscript, Kay Khusrau who won the Iranian throne is pointing at his kneeling rival, Fariburz, and the prisoners can be seen in the bottom left. There are other people around the throne who are: guarding, gossiping, sitting, and taking the prisoners away. All the people’s clothing is drawn with extreme details and vivid colors. The throne is decorated in a similar style as the golden throne I chose, such as: the detailed spike-like decoration on the backrest, heads of animals that look similar to griffins, and the color gold. Also, it is much smaller, but some parts are very similar to king Zahhak’s throne as well, such as: the floral design, carpet and mattresses, the throne room, and high placement of the throne. This throne also represents the power and wealth Kay Khusrau holds against others. Additionally, considering the placement of the throne is on the high ground compared to the others, there is also a representation of arrogance and egotism in Kay Khusrau as a king. This is associated with what the boar headed corpse was metaphoring in the text, which was a warning to Sekandar’s arrogant and selfish conquest.