Page 215 - Eye of the beholder

The delicate tones of the eye lids, shading around the lips, side of the face, under the chin and behind on the neck has been well thought out by the artist to make it appear realistic. The rest of the figures within the composition do not have this detailed treatment of the face, thus symbolically marking the significant presence of this dervish in his time. The approach to painting is painterly and not linear, as the modelling in light and dark does not permit such an approach. European influence is predominant in terms of the perspective of rendering the architecture, modelling in light and shade and most vitally the night scene.
SULTANATE PERIOD
AN ILLUSTRATED FOLIO FROM SHAHNAMA, DEPICTING RUSTOM WITH BOW AND SPEARS 1500 C.E.
The narrative of the Shah Nama is the definitive work on Rustom, whose life and work was immortalized by the 10th century Persian poet Ferdowsi in the Shah Nama or Epic of Kings, which contains pre-Islamic Iranian folklore and history. Ferdowsi did not invent the character; as Rustom stories were popular in Persia in Pre Persian mythology. Rustam’s mother Rudaba, the princess of Kabul, was known for her unrivaled beauty, and Rustam’s father Zal was one of Persia's most powerful warriors and a great general who conquered many rebellious tribes and ruled over Zabulistan. Zal was known for his wisdom and was unparalleled in riding and fighting on horseback. He once demonstrated his skills to Emperor Manuchehr to seek his approval to marry his lover Rudaba.
Rustam’s birth and life was equally unparalleled and miraculous. His mother the princess of Kabul gave birth through what is probably the first described cesarean section in history. As a child, Rustom showed prodigious talent in battle field while slaying a mad white elephant with one blow of his mace and later taming a wild stallion. Rustom’s eventful life, which is the central story line of Firdaus’s Shahnama, was to come to a sad end at the hands of his half- brother, after a mournful fight with his son Sohrab.
The cultural revival, which began under the last of the dynasty of the Sultans who ruled Delhi namely the Lodi’s, may have led to illustrated manuscripts coming to India. Sikander Lodi was an enlightened patron of the arts, known for his predilection and admiration of learned men whom he held in great esteem, and was constantly in their company as he had a pronounced taste for literature and poetry and wrote poetry under the pen name of Gulrukhi. His broad outlook on cultural matter is exemplified by the fact that one of the chief poets at his court was a Brahmin by name Dungar. His patronage attracted scholars from Arabia, Persia and Trans-Oxiania to his capital cities of Delhi and Agra. Skilled calligraphers were employed by him for copying manuscripts, some of which were often brought from foreign lands. He was also deeply interested in music and other fine arts. Within such an ambience arts began to flourish, and for the first time in India, during the Sultanate rule, bibliophiles and lovers of Persian literature began to have the texts partially copied for them and illustrated by Indian artists who were available with their services.
A Shah Nama in Bharat Kala Bhavan Varanasi, belonging to the Lodi period manuscripts, and perhaps from the last quarter of the fifteenth century, has been established to be the work of an Indian artist who was familiar with Persian painting. The Shah Nama was probably painted at Delhi, where classic Persian texts were illustrated by the Indian as well as by itinerarant Persian artists. The earliest illustrations to Shahnama in India are known from the Sultanate period dating to the 15th century. Quite evidently the Persian influence is very strong in these paintings.
The painting in the collection of the Sadhus’ has the representation of Rustom riding on his sturdy stallion.
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