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