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" B 2. Grube PA =P P 8 PSB P 'PC dC > c 9 : 3. Stephens 4. Sotheby P %&F >PH PA .UP P$ #H) c# > = 5. ArtthurM.Sackler P P8& P " #P 3 B& d$ #H) I$& P O6 "X H c# & &9 ,H$ >[ 6. 1396 1 •" ) X8 H8 8F • H' 8 SB H9 .% • 33/3.7 1333 8 PPSB PP$ . UPP %&F >#PP .##B H$ I 8 SB

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S ) [ 3 8 c 8 8 dH . ' $# : P]B > ( 5 .( 382)1 I & [P $F 17 . >H- : B •> %& PPPP$ #PPPP PPPP) UPPPP NPPPP8 %&F 96 Azhand, Y., (2008). Painting School of Shiraz, :>PB I - >* >5 OAJ .( 387)1 48• #†F Tehran: Iranian Academy of the Arts: Matn, (Text in Persian). . >H- Canby, S., (2012). Persian Painting, Mahdi Hosseini, 1999, Tehran: Art University, (Text in dP]B - ->,I >R ,dk >".( 372)1 # B ˆ9 Persian). . 12 :>B •HF $ .$ Grabar, O., (2011). Mostly Miniatures: an >>" * >> >>, *- $ >> %$-,>>- .( 393)1 I P8P &PP(' Introduction to Persian Painting, Mehrdad Vahdati, Tehran: Art academy, (Text in Persian). . &8II :>BI Gray, B., (2013). Persian Painting (French: La peinture persane), Arabali Sharveh, Tehran: - > ->, " $, +(B )3 F B — Doniaie Honar, (Text in Persian). . : B -CI$> ]H$ Grube, E.J., (1976). Persian Painting in the Fourteen Century,A research report, memorial d ]B P >1 $" >N -, .( 391)1 B($ BP9 volume of the International Congress of Iranian Art Archaeology, Tehran, (Text in Persian). . $ : B "> B h1 8 #†F 48• Hillen brand, R., (2003). Shahnama: the Visual :>PB >-$I > >5 (. 387)1 & Language of the Persian Book of Kings, Davoud Tabaei, Tehran: Iranian Academy of the Arts, .U (Text in Persian). Merassi, M., (2012). A study of script and image " P$ d# ]B P $ - > %$-,> .( 391)1 " P9 @ P I' combination and its origin in Shiraz painting . % : B -C > school, Injuid Era, Negareh, No: 23, (Text in Persian). dP]B $I - -,> 5 .( 390)1 ‹ [ Pakbaz, R., (2014). Iranian Painting: from Past to . >H- :>B # B#C $ Present, Tehran: Zarin & Simin, (Text in Persian). Pop, A., (1990). Understanding Iranian Miniature, %P9 4 2 d1 ]B $I - $-, %.( 392)1 & " i [ H. Mir, H., Tehran: Bahar, (Text in Persian). Rahnavard, Z., (2008). Persian Art History in . " :>B Islamic period: Miniature, Tehran: Samt, (Text in H9 , B ' I (B.(1391)I-.$ ‰$ Persian). Spuler, B., (1993). Die Mongolen in Iran, Mahmoud % & ,PH$ "P9 [ >F %HL SB 8 Miraftab, Tehran: Elmi Farhangi, (Text in 7)23:(52-43. 5 K( 6 X8 iF Persian). Scerrato, U., (2012). Encyclopedia of Word Art, d ]B P , 6" * (. 388)1 O # I1 Yaghoub Ajand, 1997, Tehran: Mola, (Text in Persian). . >H- : B > Z(K #

References Adamova, A. & Giuzaliane, L. (2003). The paintings of Shahnama (book of Kings), Zohreh Feiz, 2007, Tehran: Iranian Academy of the Arts, (Text in Persian). 8 1 X: 9 X' 1 : = 1396 ' ) : 17

97 A Comparative Study of Hunting Deer Scene, Bahram Gur and Azadeh in Shahnameh Scripts of Ilkhani Era1

Z. Masoudi Amin2 received: 2016.5.10 E. Moravej3 accepted: 2016.9.3

Abstract Shahnameh is an epic poem written by Hakim Abuʾl-Qasim Ferdowsi Tusi. This work attracted attention of many Iranian kings throughout various eras and was even ordered to get illustrated by some of these monarchs. There are no illustrated versions of Shahnameh from the era before Ilkhani dynasty establishment till 14th century and there are only two copies of Shahnameh belonging to 13th century which non are illustrated. There are only near 10 illustrated Shahnameh scripts which belong to 14th century (Ilkhan era) which their illustrations are notable and worth studying. Present paper aims to study three illustrations from three Ilkhani era’s Shahnameh scripts which depict the tale of “Deer hunt, Bahram Gur and Azadeh” which was considered as a notable story by illustrators of these scripts. The 7 1 research method of present study is descriptive-analytical method which; by employing , O

existing resources and documents; tries to answer the question that, whether these three N l a Shahnameh scripts of 1331, 1333 and 1352 A.D. were produced in one atelier? and if a i r e specific style and method has been fallowed in their creation or not? Therefore, a set of S , 7 differences and common aspects among artistic elements were examined in these three 1 0 2 paintings. r

Generally, it is concluded that based on composition, technic and even influence of previous m m schools, either from Iranian, Chinese or Mongol art, there is a unique pattern in these three u S common illustrations of these works, which confirms the fact that these similar looking & g n i

works were created in a common workshop. r p S

. 1 .

Key Words: Iranian Painting, Shahnameh, Shiraz School, Injuids School, Bahram Gur and o N

Azadeh , 9

l o V , s e i r e S w e

1. DOI: 10.22051/jjh.2017.9714.1101 N 2. Assistant prof. of Graphics, Alzahra University, Tehran,Iran, (Corresponding Author) [email protected] 13 3. M.A. of Graphics, Alzahra University, Tehran, Iran,[email protected]