Page 494 - Art In The Age Of Exploration (Great Section on Chinese Art Ming Dynasty)

work, they scarcely attempted to represent moods
by inventing gloomy palettes for tragedies or jolly
ones for marriages.
Rustam Kills the White Div (folio /3a) is a
particularly Indian version of a heroic subject.
Rustam, the mighty Iranian paladin (knight), slays
the White Div (Demon), a personification of evil
and lieutenant of the Div King of Mazandaran.
Not only do the cave, mountain, trees, and skyline
conform to familiar Indian formulas, but the div is
shown with unmistakably Hindu attributes. As
B. N. Goswamy has pointed out, "His appearance
is more like that of an ash-smeared ascetic wear-
ing strings of rudraksha-beads and caste marks on
his forehead than that of the scaly, animal-headed
demon envisioned in Iranate work" (Goswamy
1988). To please a Muslim patron, moreover, the
Div was endowed with an extra set of arms, bring-
ing to mind poly-armed Hindu images. While the
intent Rustam stabs, five junior divs shamble
about anxiously, attempting ineffectually to aid
and lend solace to their defeated master. Bound to
a tree in the foreground is the potentially traitor-
ous Owlad —rendered here as a dark-skinned
Indian —a "marcher lord" captured earlier by
Rustam, who promised to appoint him ruler of
Mazandaran in exchange for guidance to the
White Div.
Siyavush Enthroned with his Bride Farangish,
Daughter of Afrasiyab (folio ii2a) is an episode
of rare and gentle poignancy in the heroic account
of strife between Iran and Turan. Siyavush, son of
the Iranian king, was not only welcomed by Afra-
siyab, king of Turan, but offered his daughter
Farangish in marriage. In this miniature of one of
the happiest moments of Firdawsi's Iranian epic,
the loving couple are enthroned beneath royal
umbrellas.
Tragedy lay ahead; the seemingly endless war
again turned bitter. Despite Farangish/s tears and
protests from wise Turanian advisers, Afrasiyab
ordered Siyavush's execution. From the earth that
had received the hero's blood grew flowers now
known in Iran as Siyavush's Tears. Before long,
Afrasiyab also lost his head —to the sword of the
Iranian Shah Kay Khosrow.
Painted not in Iranian but in Indian terms, a
musician plays an Indian instrument (sarod) and
attendants are rhythmically disposed, recalling
Jain and early Rajput groupings. Their skirts, visi-
ble through transparent muslin duppattas (long
scarves), bring to mind the patterns of fifteenth-
century Indian block-printed textiles excavated at
Fostat, near Cairo. The gilt bronze animals of the
lion throne resemble those that often support
images of Jain saints. Among the assorted Indian
metal objects is a salver of pan (betel nut and lime
wrapped in a leaf). Most Indian of all, perhaps,
are the portrayals of plump, dark-eyed Farangish
and stout, black-mustached Siyavush, who bring
to mind the heroes and heroines of current
Indian films. s.c.w.

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