Published Catalogue Text: In Harmony: The Norma Jean Calderwood Collection of Islamic Art , written 2013
77 A–B
Double page: The Murder of Iraj
A. Verso: text, with titles “Iraj visits his brothers” (above) and “Iraj is killed by his brothers” (below)
Folio: 37.2 × 23.6 cm (14 5/8 × 9 5/16 in.)
2002.50.166
B. Recto: text and illustration
Folio: 37.2 × 23.6 cm (14 5/8 × 9 5/16 in.)
2002.50.165
Published: McWilliams 2004, 8, fig. 11.
The painting depicts a decisive moment in the Shāhnāma and provides the explanation for the bitter enmity between the Iranians and the Turanians (Turks) that pervades the subsequent narrative of the epic. Firdawsi tells us that the conflict between the two groups began after King Faridun divided his empire among his three sons. Rum (Byzantine territory) and the western lands were assigned to Salm, China and Central Asia to Tur, and Iran and Arabia to Iraj. Over the years, Salm and Tur grew jealous of Iraj and plotted to murder him.
The tragic episode took place in Iraj’s encampment. Having learned of his brothers’ intent, Iraj vainly begged Tur to spare his life, but Tur, with Salm looking on, stabbed Iraj with a poisoned dagger, cut off his head, and sent it to their father, Faridun.
The illustration shows a marvelous tent complex crowded with high officials and noblemen, looking on as Tur severs Iraj’s head. Whereas in the text Firdawsi details the youngest brother’s wounds and spilled blood, the artist of this illustration focuses on his final, vain attempt to fend off the knife at his throat. His crown has fallen to the ground, likely knocked off during Tur’s attack. Salm stands on the right, seemingly taken aback by the violent action unfolding before his eyes.
By the sixteenth century, the iconography and composition of this scene were well established and appear in numerous illustrated Shāhnāma manuscripts.[1]
Mika M. Natif
[1] See, for example, Dickson and S. C. Welch 1981a, vol. 2, no. 36; Canby 2011, 55.
