The unveiling of a book featuring surviving miniatures from an ancient Shahnameh, whose pages are now scattered around the world, introduces lovers of Iranian culture and art to one of the oldest examples of Iranian illustrative are (Tabriz school). The event’s speaker, Abol Alaa Sodavar, a renowned Iranian artist who has spent years researching and tracing the illustrations of this Shahnameh, led the “Ilkhani Great Shahnameh Book Launch” meeting.
Shahnameh copies written during the 7th and 8th centuries, during the time of the Mongol Ilkhanate in Iran, are highly valuable and artistically significant, particularly for their exquisite paintings. These works are greatly sought after by collectors. In past centuries, such illustrated Shahnamehs were sent to royal courts and were considered precious gifts. The Ilkhani Great Shahnameh, also known as “Demotte’s Shahnameh,” is one of the most important examples, though, unfortunately, its pages have been scattered, and not all are currently available.
This Shahnameh was written and illustrated during the reign of Sultan Abu Saeed Bahadur Khan Ilkhani (who died in 736 A.H.), in the renowned Tabriz art workshop, at the request of his scholarly minister, Khawaja Rashiduddin Fazlullah Hamadani, with contributions from several Iranian artists.
The story behind the dispersion of the Ilkhani Shahnameh dates back to 1910 when a French priest named Georges Joseph Demotte acquired it. In a regrettable and unwise decision, Demotte disassembled the manuscript, destroying the original text of the Shahnameh. He then sold the individual pages to various collectors and museums around the world, thus contributing to the fragmentation of one of Iran’s unique artistic masterpieces. Today, pages from this collection are housed in several prominent institutions, including the Cleveland Museum (Ohio, USA), the Metropolitan Museum of Art (New York, USA), Harvard University (USA), the British Museum, the Nelson-Atkins Museum (USA), the Museum of Fine Arts in Boston (USA), the Louvre Museum (France), the Reza Abbasi Museum (Tehran), and various private collections.
Several years ago, Iranian art professor Abolala Soudavar authored a detailed and scholarly article on the great Ilkhani Shahnameh; published in an American academic journal. This extensive research was recently translated into Farsi by Kianoush Motaghedi and Alireza Baharlou, along with color prints of all the surviving miniatures, and released in a full-page book. The Ilkhani Great Shahnameh Book Launch event centered around this publication, with speeches by Soudavar and one of the translators, reflecting on Demotte’s actions and the history of the Shahnameh.
A Document in the Recognition of Iranian Identity
Before Abolala Soudavar’s speech, Kianoosh Motaghedi, one of the translators of the book, gave a brief introduction to Soudavar’s work and the great Ilkhani Shahnameh. He began his speech by stating, ” The great Ilkhani Shahnameh is one of the most important visual and literary documents of Iranian identity. No illustrated Shahnameh from before this period has survived in our hands. This does not mean that no illustrated Shahnamehs existed before this; undoubtedly, there was a significant tradition of illustration in Iran, which led to the creation of such a masterpiece as the Ilkhani Great Shahnameh. However, there are few surviving pictorial manuscripts from the pre-Ilkhanid era. Thus, the publication of the illustrations from this Shahnameh marks a significant and pivotal step in initiating research on the composition of Shahnameh and identifying different copies.”
He continued by discussing the Shahnameh’s history and unfortunate fate: “The great Ilkhani Shahnameh remained in Iran until the Qajar period. Then, a dealer named Georges Demotte purchased it and, in an unfortunate act, dismantled the manuscript, selling its miniatures to libraries and museums worldwide. This book represents the first attempt to publish the remaining 72 illustrations of this Shahnameh in a single volume.”
Motaghedi also highlighted the importance of Abolala Soudavar’s research, saying: ” Soudavar was the first to discover that a group of artists, led by Khawaja Rashiduddin Fazlullah Hamadani—the minister of the Ilkhanate—created a Shahnameh in which the illustrations not only depicted stories from the Shahnameh but also the history of the Mongols. The goal was to grant political legitimacy to the Mongol rulers through the narrative of the Shahnameh. This initiated a new tradition in Shahnameh writing, which continued in subsequent periods, such as with the Baysunghur Shahnameh in the Timurid era and the many illustrative Shahnameh’s produced during the Safavid period.”
Archaism in the Paintings of the Ilkhani Shahnameh
Motaghedi explained: “Mr. Soudavar discovered that the illustrations of the Ilkhani Great Shahnameh carry a dual meaning: they not only narrate the stories of the Shahnameh but also present a historical account of the Mongol patriarchs. The remarkable aspect of these illustrations is that the artists studied various Mongolian sources, as well as the writings of Iranian and Chinese historians, enabling them to create a profound analysis of 52 illustrations.”
He concluded his speech by saying: “The great Ilkhani Shahnameh offers a visual depiction of the political landscape of Iran during the Mongol Ilkhanate period. It refers how the Mongols, despite their initial brutal and speedy invasion of Iran, became supporters of Iranian culture and art just two generations later. This demonstrates the transformative power of Iran’s art and culture, which even influenced the Mongols, inspiring them to patronize the creation of a miniature Shahnameh. Furthermore, the paintings of the Ilkhani Great Shahnameh incorporate ancient, especially Sasanian, motifs. This reflects a sense of antiquarianism in their artwork, with a deliberate reference to Iran’s rich historical heritage.”
The Ilkhani Great Shahnameh: The Epitome of Iranian Art
Abolala Soudavar, a renowned artist, was another speaker at the meeting. He began by stating, “Throughout several millennia of history, two superpowers have emerged on either side of the Asian continent, each possessing both economic and military might, as well as cultural and artistic influence. These two civilizations are Iranian and Chinese.”
Soudavar then shared how he came to know and research the Ilkhani Great Shahnameh: “In 1975, while I was in America, I encountered Iranian youths and children who had never heard anything about Iran except slander. I felt compelled to introduce them to the culture of their homeland. I visited the Los Angeles Museum and met Mr. Lenz, the head of the museum’s ancient and Islamic department, and expressed my desire to organize an exhibition on Iranian art. He agreed. Seven years later, my exhibition, titled ‘Siri Dar Farhang Iran,’ was held. This exhibition aligned with a project by one of my friends, who organized an exhibition on Timurid art. However, some Iranians in Los Angeles criticized him for focusing on Timur, whom they considered a tyrant, instead of celebrating figures like Cyrus and Darius. This experience fueled my desire to delve deeper into the art of miniature painting, which has garnered significant praise from Western audiences. I aim to convey that while some aspects of this art originated in China, it represents the crystallization of Iranian artistry, with the Mongols playing a pivotal role in its development. I was invited to speak on this topic.”
The Dissatisfaction of an English Researcher and His Criticism
Soudavar recounted the story of his presentation on Iranian miniature art and the paintings of the Ilkhani Great Shahnameh: “I dedicated two years to this research until Mr. Julien Riby, who published a scholarly journal on Islamic art in Oxford, expressed interest in my topic and invited me to give a speech. Aware that this subject might be contentious among English scholars – who usually monopolizes such research work – I prepared a booklet containing detailed arguments for each illustration of the Ilkhani Shahnameh. I printed several copies to take with me, not know that behind the curtain, Prof Swans, was displeased with my upcoming speech.
I didn’t like the idea that an exhibition on miniature art was organized without his knowledge. He resented the organization of an exhibition on miniature art without his knowledge. The chairman of the meeting was Mr. Charles Melville. Within ten minutes of starting my speech, they interrupted me on various pretexts, attempting to undermine my arguments. Professor Swans became visibly angry, declaring that my statements lacked validity and that even if I provided fifty examples, he would not accept them.
In this way, they set out to discredit me. Fortunately, Mr. Riby insisted that I document my arguments, promising to publish them in his journal. I complied, and after reviewing numerous Mongolian texts alongside Iranian historical documents, I established connections between the illustrations. My article was published in the journal, and this is why its translation has now been released in Iran.”
Soudavar referred to the painting: “Mehransetad asking for the hand of a Chinese princess for Anushirvan”, one of the illustrations in the great Ilkhani Shahnameh. H explained, “The painting depicts Anushirvan sending an ambassador to propose to a Chines princess, with the intention of strengthening Iran-China ties.
In Jami al-Tawarikh by Khwaja Rashid al-Din Fazallah Hamadani, I found that a princess named Kokajin lived at Kublai Khan’s court in China. She was sent to marry Arghun Khan, but by the time she arrived, he had died, leading her to marry his son, Ghazan Khan, in line with Mongolian tradition. This connects the Shahnameh painting to Kokajin’s journey from China and her marriage to the Mongol ruler.”
Rostam dressed as the Emperor of China!
Soudavar discussed the miniature “Assassination of Rostam by his stepbrother Shaqad” from the great Ilkhani Shahnameh, now housed in the British Museum, highlighting its connection to Ilkhanid history. He stated: “This is a key image. During the creation of the Shahnameh in Khawaja Rashid Ud Din Fazilat’s workshop, the artists recognized similarities between the Shahnameh’s story and a Mongol event: when Kublai Khan became emperor, his younger brother rebelled against him. After their armies clashed, the brother was captured and thrown into a cage of razor blades.”
The creators of the Great Ilkhani Shahnameh saw a direct parallel with Rostam’s death, where he falls into a well of sharp swords at the hands of his half-brother, Shaghad. In this image, Rostam is depicted dressed as the emperor of China.
Soudavar also pointed out another illustration from the Ilkhani Shahnameh depicting the Samani era’s saga. He regarded this painting as significant for its imaginative portrayal of the poet and as an innovative representation of the royal world of the Ilkhans.”
In conclusion, Soudavar identified the main calligrapher of the Ilkhani Shahnameh, Abdullah Sirafi, highlighting his artistic skill in manipulating dots. He emphasized the significant role of Khwaja Rashid al-Din Fazlullah Hamadani in creating the Great Ilkhani Shahnameh, stating, “Iranian ministers played a crucial role during the Ilkhani period, bridging the gap between the bloodthirsty Mongols and Iranian culture, fostering their appreciation for it.”
During the unveiling of the Great Ilkhani Shahnameh, Rukni, an official at the Malek Museum and Library, remarked on the event’s importance, noting how the Shahnameh’s history and its scattered images continue to be celebrated worldwide, while many in Iran remain unaware.
The ceremony took place on Tuesday, Aban 1, 1403, in the assembly hall of the Malek Museum and Library, attended by art and culture enthusiasts. The event culminated in the unveiling of the Persian translation of Abolala Soudavar’s book about the Great Ilkhani Shahnameh.
