A review on seventh labor portrait in three Shahnameh: Ilkhanate, Baysonqor, Tahamasbi

Effat-Al-Sadat Afzal Tusi, Elahe Moravej


Ferdowsi’s Shahnameh has been in center of attention during the history from the composing until now; and Iran owned an epic masterpiece which was originated from ancient identity; and gradually had an extended reflection in various aspects such as: literature, arts, history, and etc. Kings in every era have ordered its production to show their power and magnificence; and painters have tried to portrait its assemblies and Shahnameh’s imaging tradition has been emerged. In this study there has been an attempt to investigate aesthetical facets and compare segregation and commonality aspects of artistic elements of two Rostam’s seventh labor portraits in three Shahnameh: Ilkhanate, Baysonqor, and Tahmasbi with a little information of Iran’s historical, social, and cultural background in Ilkhanate, Timurid, and Safavid eras because this scenery is the most important and the only painting in Rostam’s seven labors which has been portrayed in top three Shahnamehs and three various era and dynasty with 200 hundred years distant in Iran. This study has been performed based on library resources with comparison, explanation, and analytical methods. In this article along with portrait narration, eras picturing characteristic has been explained and each artist novelty has been investigated based on his independence. As a result, it can be said that by time passing, court (durbar) support, investment and more attention to artist, art schools impression has been declined and ways for more creation and independence has been increased. As we pass by Ilkhanate era, interference and imagination of the artist in imaging develops.


Shahnameh, white beast, imaging, Rostam, Seventh labor.

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