Muqarnas 21 Essays In Honor Of J.m. Rogers: An Annual On The by Aga Khan Professor of Islamic Art & Architecture Gulru

By Aga Khan Professor of Islamic Art & Architecture Gulru Necipoglu, Doris Behrens-Abouseif, Lecturer in the Arts and Archaeology of Islam Anna Contadini

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Extra resources for Muqarnas 21 Essays In Honor Of J.m. Rogers: An Annual On The Visual Culture Of The Islamic World (Muqarnas)

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A figure representing the protagonist Faramarz is pasted onto the center front. His face and the details of his armor are repainted, and a big feather is added to his helmet to provide him with an impressive appearance in tune with his heroic character in the narrative. In fact, this refurbished attire is used throughout the manuscript to transform ordinary figures into the celebrated heroes of the Sh¸hn¸ma. The added dark green ground, extending from where Faramarz stands to the right-hand edge of the painting and roughly matching the original green ground to the left, joins and unifies the two parts.

In Firdawsi’s Sh¸hn¸ma, Bahman (the son of Isfandiyar) is dying because of an illness, and although he has a son (Sasan), he appoints his daughter and wife, Humay, with whom he is passionately in love, as his legal heir. Humay, who is pregnant, ascends to the throne and, being a powerful 32 serp~l ba²ci and ambitious sovereign, continues to rule even after she gives birth to Bahman’s son, the future Shah Darab. She lays her baby boy in an ark made by the most skillful carpenter of Iran and sends it off in a river (Warner and Warner, Shahnama of Firdausi, vol.

21 Each of the towers was crowned by a gul dasta, or viewing platform—a traditional structure of the type that had been added to the Safavid Masjid-i Shah in Isfahan because the original minarets overlooked the women’s quarters in the Imperial compound. Projecting above the second floor was a European clocktower, which was placed centrally on the main axis of the building, with clocks on both the western and the eastern façades. The western façade, which overlooked the garden and a large tank, was divided horizontally into two sections: the base, linked to the courtyard terrace buildings, and the body, set back directly above the base block.

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