Artefacts

The selected artefact for this project is an illustration Titled “Isfandiyar’s Third Course: He Slays a Dragon”, from the Shahnama (Book of Kings) of Shah Tahmasp. This illustration is not part of the original Shahnameh which was completed by Abu’l Qasim Firdausi in around 1010 A.D. but is part of the luxurious copy of the Shahnameh made specifically for Shah Tahmasp, the second Shah of Safavid Iran. These Persian miniatures present in this copy of the Shahnameh were a high point for this form of artistry, with over 258 copies solely in this one manuscript. These pages were approximately 48cm x 32cm and were illustrated with “large gold-sprinkled borders and lavish illuminations”. The painting of Isfandiyar’s Third Course: He Slays a Dragon, is one of these 258 illustrations and can be attributed to Qasim ibn ‘Ali, dated 1530 A.D. This illustration demonstrates an instance where Prince Isfandiyar is in the process of freeing his sisters from captivity and in order to do so, he must defeat a dragon. This dragon is not the same as the one slain by Sekandar in my chosen excerpt, however, both these Persian dragons are from the Shahnameh. The Metropolitan Museum of Art, which holds this illustrated page of the Shahnameh, describes the depiction as a “tightly coiled dragon slithering through rocks”, causing menace while it breathes fire. The mediums used for this painting is opaque watercolour, ink, gold, and silver on paper.

Another notable illustration featuring the slaying of a Persian dragon is found in a folio from the Shahnameh (Book of Kings) of Shah Ismail II, housed at the Aga Khan Museum. This miniature painting, titled "Rustam Kills the Dragon," is part of a manuscript commissioned by Shah Ismail II between 1576 and 1577, just a few years after Shah Tahmasp's renowned copy. Inspired by the precedent set by his grandfather, Ismail I, and his father, Shah Tahmasp, Shah Ismail II sought to continue the tradition of owning a personalized illustrated Shahnameh by Firdausi. Though it was left unfinished at Ismail II's death, numerous artists, including Siyavush, Sadiqi Beg, Naqdi, Murad Dailami, and Mihrab, contributed to this royal copy during his reign. The specific scene depicted in this miniature portrays Rustam's third trial, where he slays a dragon on his journey to rescue the Shah from the White Demon. The artistic style is attributed to Sadiqi Beg, a contributor of seven illustrations in this Shahnameh manuscript.

This Chinese jar, with a porcelain body adorned with cobalt blue painting, showcases a dragon distinct from the Persian depictions seen in this exhibit. Dragons, entrenched in mythology, extend beyond medieval Persia, finding resonance in various global cultures. In particular, East Asian communities share a profound connection with dragon culture, evident in diverse artistic and literary expressions. The use of blue cobalt on porcelain marks a pivotal development in the global history of ceramics. Crafted in the early 15th century, this jar was intended for the court of the Xuande emperor, serving as a storage container. The artwork portrays a powerful Chinese dragon undulating through a sky adorned with scattered clouds, encapsulating the rich cultural symbolism associated with these mythical creatures.