Analysis
Virtuous Hero versus the Evil Dragon
The theme of a hero attacking a mythical monster is a familiar concept in Iran literature, and the main medieval artifact of hero versus dragon encapsulates this idea. In the Shahnameh, various heroes in the Persian national epic fight dragons; however, this artwork seeks to evoke and emphasize these heroic feats. Although this illustration is not a direct depiction of any of the dragons discussed in the Shahnameh, it portrays the idea of heroes exhibiting valiant acts to overcome demonic figures. The iconography of the dragon emerging from a mountainous rocky landscape was already an established standard in the fifteenth century. This is seen in the Shahnameh through Sekandar defeating a “mountainous” dragon in order to advance his journey. The illustration showcases the similar notion of the dragon's mountainous lair belonging to its demonic world, which is shown by the cloud whipped by a witch-blown wind. The dragon in Shahnameh is also described metaphorically using a cloud through being “like a huge dark cloud: his tongue purple, his eyes blood red, and dire continuously from his maw” (Firdawsi 3). Further, the details on the dragon show the importance of illuminating the figure from the heroic character. The illustration of the cloud, as well as the bloodshot eyes in the artwork, seek to establish this idea of evil and demonic character.
The Concept of Arrow
The arrows in the Shahnameh portray the object symbolizing valiant forces that are used in an attempt to defeat the dragon in the mountains. However, this tactic failed to kill the dragon as shooting a storm of arrows against the dragon did nothing to defeat the dragon. The significance of the arrows is to show how not all violent forces are effective in overtaking the dragon, and heroic figures need to think carefully to construct a well-thought-out plan. Similar to Sekandar using poison to weaken the dragon, the illustration of Isfandiyar slaying a dragon showcases the hero weakening the monster with swords protruding out of a carriage he created. Ultimately, the arrow is used to defeat the dragon in both Sekander’s and Isfandiyar’s cases. Sekander’s army releases a hail of arrows as the dragon’s body succumbs to arrows while Isfandiyar is illustrated as finishing the dragon with a bow and arrow. This shows the dragon being symbolized as disorder and chaos and the arrow representing the ultimate victory over the dragon.
Analysis of the Dragon-Shouldered Zahhak
Illustrations from the Shahnameh reflect the apex of 16th-century Iranian painting and complement, in vivid detail, Ferdowsi's epic poem. Ferdowsi defines dragons as ruthless kings with respect to Zahhak (Motafakerazad and Dobakhty 3977). In the Shahnameh, the word dragon-shouldered describes Zahhak, which symbolizes uncleanness and foulness (Motafakerazad and Dobakhty 3977). Zahhak's reign of terror consisted of a horrible massacre and unfair ruling, which lasted many years until a young man named Feraydun led an army against the monarch. Heroes of Iranian epic poetry generally battle malevolent reptile animals known as azhdaha, which is a concept that is commonly translated as "dragon" (Lasman 45). This idea is seen in Feraydun eventually bringing his ox-headed mace down on Zahhak's skull, immobilizing him and then imprisoning him and his reptile snakes in a cave. Hence, Feraydun is illustrated as the heroic force that vanishes the devil from society and creates a peaceful atmosphere seen in the oblivious figures surrounding the painting.
In conclusion, the understanding of the literary and visualization of the dragon gives better insight into Persian medieval myths. The significance of the dragon is solidified as visuals of evil mythical beings create images of heroic credentials. These medieval artifacts present the dragon as a demonic figure associated with the devil and bring light and virtuousness to heroic figures to further illuminate the epic poem.