The Comparative Study of the Shahnama Lithographic Images, 1846 AD in India and 1851-53 AD in Iran

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The Comparative Study of the Shahnama lithographic Images, 1846 AD in India and 1851-53 AD in Iran

1. Mansoureh Fadavi

Secretary of Technical and Vocational in Ramsar (Ministry of Education) [email protected]

Abstract

Lithography entered Iran in Qajer era. As a result the art of book illustration commenced. India which had become familiar with this craft and industry before Iran and had lots of cultural and literary commonalities with Iran published the first lithographic Shahnamah by the order of an Iranian publisher. By entering this books into Iran some illustrators used it, to create their own works. One of these artists is Mirza Aliqoli Khoee, the greatest Iranian illustrators. He illustrated the first lithography Shahnamah in Iran, from 1849 to 1851. It has been affected by the first lithography Shahnamah of India in 1846. The composition of the pictures, the place of the elements and the figures and illustration of the common events are the effects of its Indian counterpart. The pictures of Iranian Shahnamahk have recently been published and studied. However, no comparative study has been taken on them. This is a descriptive-analytical study. The data and the pictures have been collected through library study.

Key words: Shahnamah, book illustration, India, Mirza Aligholi Khoee

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Introduction After industrial and artistic changes in Qajer era lithography as a part of this change appeared. Its physical changes as compared with the traditional ones which was originated from its technical limitation commenced with the color deletion and continued with an emphasis on visual elements. Some artists who were familiar with these techniques developed this new method in a short time. They have accomplished valuable results by scrutinizing the works of other artists and application of no-Iranian experiences and its purification with Iranian traditional book illustration techniques. This art has originated from Iranian Persian painting, European industry and painting, developed beside them and taken the present day forms on the one hand. On the other hand the arrival of press industry from India to Iran resulted in getting influences from Indian works. Therefore by supposing that Iranian illustration has developed under the influence its Indian counterpart the present study is seeking to find if there are any similarities and difference between the pictures of the first Iranian lithography Shahnamah (1851) and Indian lithography Shahnamah (1846) and if yes, what they are. To find the answer the first Iranian lithography Shahnamah (1851) and Indian lithography Shahnamah (1846), lithography in Qajer era, its changes and its development have been studied. The study has been done descriptively and analytically. To do the comparison and analysis five pictures have been selected from each one. Other pictures are cited in the appendixes.

Research Methodology The research method in historical issues was analytical- historical and to study kinds of paradigms and versions it was descriptive-analytical one.

Book Illustration in Qajer Era Persian painting in Islamic Era over several centuries has being practiced for manuscripts in the framework of various schools in kings’ and princes’ courts. The changes that have occurred in Qajer era in this field have been due to its international relations with western countries. Industrial development paved the way for printing press industry and photography to come to Iran. Printing press industry through rapid printing and cost reduction relative to the former manuscripts and photography by the creation real-like pictures and familiarity with European art have created new tendencies and tastes in the art of Qajer era. Qajer painting which was itself the continuation of safavid and Zandian painting changed remarkably. Many have criticized it and regarded it as distortion in Persian painting. If looked fairly after having being practiced in various schools over several centuries this art has been the scene of the clash of the various elements and factors from different Iranian and non- Iranian

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cultures. China and Mesopotamia are of the influencing cultures. In this period the influencing factors have just been transferred from east to the West and the painting of this period has received the most effect from industrial revolution and changes and European paintings. Consequently Qajar painting sought to find anatomical relations, perspectives, nature landscape and specific mechanism of European art. Along with these trends Indian art has remarkably influenced Qajar art. It in fact served as a bridge to transfer art and industry to Iran. India due to its close relation with UK and other European countries were influenced by European painting and cultural and commercial relations of Iran and India served as a bridge for the elements of European and Indian art to reach Iran. Being more advanced in new industries and technologies including printing press industry were another factor for this transfer. Off course these cultural transfers should be regarded as two-way. Since many Iranian book illustrators, notably those from Shiraz migrated to India after the empowerment of its printing press industry. They played a great role in its formation. The occurred changes can be observed in composition, figures arrangement, attention to reality, people’s expressions, working on details, full shot, and the like. Iranian art which have been under the influence of non-Iranian ones like Chinese art in mogul era has attempted to integrate foreign elements into ancient traditions to produce Iranian art. It has also been undertaken in Qajar era. Therefore court style of painting has been formed which has been an integration of Iranian subjectivism and western objectivism. Off course in interim we can also see the inappropriate integrations which show the unsuccessful experiences of a generation in dealing with new phenomenon; however, ultimately the traditional utopist painting changes direction to material world. Out of which an art is born that is mainly a combination Iranian miniature and European design style. In spite of strong criticism by some critics Qajar painting is in fact a new phase of the presence of non-Iranian elements in Iranian art. The trend of painting changes in Safavid era by Reza Abasi’s works and his contemporaries in Isfehan school has developed toward the preference of design and reduction of visual value of color, decoration and attention to details; However attention to decorative forms and details resumed once again in Fatalishah’s period of ruling due to the current attention to luxury and has even been prioritized over design. Along side of this type of Qajar painting another illustration tradition named lithography book illustration appeared. If we regard court painting as Persian court painting form lithography book illustration can be regarded as another form of the art of this era which was more public and common. It came into existence after printing press changes and was formed under the influence of the dominant painting tradition. Therefore it can be regarded being subjective to the limitations of printing press industry. In this period the art of printing illustration was practiced by two methods. The first is the traditional one which is the continuation of Persian painting and practiced by artists like Mirza Ali khoee. The second method can be seen in the works

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of those who have been in Europe like Saniolmolk. The most important differences of the two methods are the second method artists’ tendency toward the European elements and characteristics like shading and simulation of faces. However, the lithography book illustration should be regarded as the logical trend of Persian painting which emerged out of artistic changes in Isfahan school during safavid dynasty. Simplification, reduction of color range and introduction of European elements, commercialization of art, and high demand for manuscript by the middle class are the initial constructive factors.

Lithography Books Illustration Lithography was invented by a Bavarian author Alois Senefelder in 1796. (Etamadolsaltaneh 1921, 57) After 42 years, in 1853, the first printing lithography was founded in Tabriz, after Amirkaber’s reforms. Then it was founded in Tehran, Shiraz, Isfehan, Orumiyeh and Rasht. The press industry has availed people with the books which had been kept in the private libraries of the royal families and noblemen. Those who ordered the books have been more from the rich than from court. They were mainly traders and high ranking officials. Lithography has been the main form of publication in Iran up to the late Qajor era. Due to some problems like Persian alphabet arrangement lead printing attracted less attention. Stone and lead printing was different. In lead printing the images were inscribed on wooden plates, printed separately and then used in books. Nevertheless, in lithography, the images together with the text were applied to stone plates and printed. For these and other reasons like easy application of Persian script, low cost and probability of error lithography was turned out to be the main printing techniques. Lithography depends on the counter effect of water and lipid. In this method the image can be printed directly from the stone plate. The orientation of the image is reversed. Its feature is its single color. Therefore lithography uses the elements like point, line, surface and space to crate picture. Shadows and darkness are created by the repetition of lines and points. Another feature is the reduction of elegance. Some technical limitations make precise working difficult to perform. Space creation in most cases is two dimensional and superficial. In it attention has been paid mostly to design. Decorations and details reduced. However, lithography book illustration have been formed based on the style of safavid School but on the principles and realistic changes of Qajar era.

The first Lithography Shahnamah The compilation of some manuscripts were done by some Iranian and Non- Iranian scholars like Iraj Afshar, Ulrich Marzolph and others Based their collected information it can be said that the first Shahnamah in lead-printing was published in Calcutta India by Turner Makan in 1829.

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(Marzolph 2005, eight) It is highly probable that it is the main reference for the subsequent printed Shahnamahs. Nearly after two decades the first lithography pictured Shahnamah was published in Bombay India by the order of an Iranian publisher named Mohammad Mehdi Isfahani in 1846. The second one in Bombay by the order of Mohammad Baghar Shirazi scripted by Reza Ben Ahmad Alhoseini Alshirazi with 57 paintings by a painter called Aliakbar, but before its completion the production of the first Iranian version started. This version was published by the order of Mohammad Hasan Tajer Tehrani, of Mostafa Gholi Ben Mohammad Hadi Soltan Kojori’s script and Aligholi Khoee’s paintings. The book shows the personal characteristics of Aligholi Khoee’s skill and the effect of the first Lithography Shahnamah. The effect of the second pictured Shahnamah published in India can also be observed on other Iranian made Shahnamah. It is not for the reason that Indian painting is better than Iranian one. There are some suppositions that the painter of the first Shahanmemeh is an unidentified Iranian. There is evidence that some Iranian painters notably from shiraz were working in India; however, it can be regarded as the consequences of cultural and economic transactions between Iran and India. Iranian publishers ordered their books to be printed in India due to its supremacy and advancement in printing techniques. Polak in his book “Iran and Iranians” has stated that Printed books in India have a better quality and neater printing. (Polak 1989, 193) Advancement of Printing in India occurred due to the influence of European countries particularly England and wide and large scale economic and political relations with them. On the other hand lithography technique had not been attracted the attention of central court in Mohammad Shah and Fatahalishah era. It had been supported most by Amir Kabir and Naser Alddin Mirza in Tabriz. The court of Tehran paid attention to printing and book illustration just after Naser Alddin Mirza’s coming to power. The nearly common literature and culture and language between Iran and India paved the way for the printing of Iranian books in India. Furthermore, large scale trade between the two countries through south sea provided the possibility to transport the ordered books between Shiraz and Bombay. Indian Painting was under the influence of Iranian traditions for several decades as well. Firdusi’s Shahnamah is regarded as a high profile and one of the most valuable works in Indian libraries and museums and many of their manuscripts have been transferred from India to Europe.

Mirza Aliqoli Khoee and the First Iranian Lithography Shahnamah Lithography book illustration was an art that was in connection with industry on the one hand and with people on the other hand. Although it did not enjoy the grandeur of the manuscripts and high cost of their production, it helped the painting to be supplied to different classes of people. They were of lower quality in comparison with the rich painting of the Islamic era; however, it is of

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great importance with regard to the status of art in Qajar era and in the beginning of the relation between industry and art. Mirza Aliqoli Khoee is one of the best and most industrious forerunners in Qajar era. He started his work fist in Tabriz then moved to Tehran. His exact date of birth is not known. What we know about him is that his birth place is Khoy in Western Azerbaijan as his name suggests and probably was born in the early days of Fatah alishah’s ruling. (samadee and lalei 2009, 20) In his youth he was in Tabriz. (Floor 2002, 15) Naser Alddin Mirza the prince ruled in Tabriz and due to the security established by Amirkabir art, literature and industry developed in this city. As a result the first publication was founded there and the printing industry and book publication developed very fast. In Tabriz he illustrated some books. After Naser Alddin Mirza’s crowning in Tehran he moved to there too. Tehran was at that time the center of literary and artistic activities. He continued his professional craft in Tehran. Later he cooperated with the School of Darolfonon. During his two- decade professional activities he illustrated 35 books. (samadee and lalei 2009, 26) From among them Ajayeb Almakhloghat (1848), Tofan Albeka (no date), Anvar Alsoheili (1851) Firdousi’s Shahnamah (1849 up to 1851) can be mentioned. His works have innovative and creative pictures. In fact before illustration of Firdousi’s Shahnamah he proved his creativity and art in Ajayeb Almakhloughat. He created 57 images for Firdousi’s Shahnamah. Out of it 55 images have similarities and common topics with Indian copy (1846). These similarities and commonalties should not be regarded as his incapabilities. The study of the two copies shows that the Iranian publisher, Mohammad Hosein Tajer Tehrani has orderd to produce the same copy as the Indian one. Therefore he has produced similar images. The evidence is the text written by Mohammad Mehdi Isfahani the Iranian publisher of the first Indian lithography Shahnamah, In it he has mentioned his name and Turner Makan- the first editor of the copy- and spells out its production and edition (for this copy). This two page text is in Iranian copy 1851. It seems that Mohammad Hossein Tajer Tehrani has been seeking to republish it.

The study of the Pictures The pictures that Mirza Aliqoli Khoee provided for the first Iranian lithography Shahnamah were a sort of imitating from the Indian version. In it he has tried to be fully faithful to the Indian version. However, he has done some changes. He has attempted to keep the composition close to the original as far as possible. The differences like change in the location of the figures, change in the details of the clothes, movement, emphasis on the facial expression, changes in number of the figures, logical integration of space and figures can easily be seen. 55 pictures have been produced based on the pictures of the Indian version and 2 pictures drawn by him on his own. Due two too many pictures just 5 ones have been chosen to be studied.

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Figure 1: Rustam fights Akhvan Div The elements of the scene in both are identical. Expressions, movements, covering and background are the same. Two changes have been done in composition: addition of a shrub to the left corner of the frame which is helpful for the balance and bringing the Dive’s leg to a lower point which adds the horizontal feature of the composition. In sum the movements of the figures looks more natural than the Indian version.

Figure 1: left: 1851-53, Tehran, illustrator: Mirza Aliqoli Khoee- right: 1846, Bombay, illustrator: an unknown artist.

Figure 2: Rustam and Chinese Khaghan The general composition and frame have been maintained. In khoee’s work, the composition elements have more consistency. Moreover, he has turned the picture in mirror way. There are more relation between background and the pictures. Two elements have been added to the frame on the top right corner and bottom left corner. They visually create more consistency.

Figure 3: Rustam mourns Suhrab Khoee has executed the composition skillfully, but it is a little skewed to the left and more space has been allocated to Rustam and his horse. By this attention has been directed to Rustam. Frame is a little vertical and there is more relation between elements. The movements are more natural and the relations are more acceptable.

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Figure 2: left: 1851-53, Tehran, illustrator: Mirza Aliqoli Khoee- right: 1846, Bombay, illustrator: an unknown artist.

Figure 3: left: 1851-53, Tehran, illustrator: Mirza Aliqoli Khoee- right: 1846, Bombay, illustrator: an unknown artist.

Figure 4: Siyavush hunts onager with Afrasiyab

The general composition has been maintained in khoee’s work. There are changes in it like space division and more elegance. Deletion of the details and more attention to the harmony of the organs can be mentioned as well.

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Figure 5: Rustam and Isfandiyar While maintained the general composition Khoee has changed the direction of the frame from horizontals to vertical. As a result more space is allocated to the figures.

Figure 4: left: 1851-53, Tehran, illustrator: Mirza Aliqoli Khoee- right: 1846, Bombay, illustrator: an unknown artist.

Figure 5: left: 1851-53, Tehran, illustrator: Mirza Aliqoli Khoee- right: 1846, Bombay, illustrator: an unknown artist.

Comporative Table of Images In this section, all image of these tow copies of Shahnamah are offered together to see exactly these illustrations. It should be noted that all pictures have been selected from Ulrich Marzolph’s Album of Shahnamah. They are in the appendices.

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Shahnama lithographic Images Shahnama lithographic Images Titles 1851-53 AD in Iran 1846 AD in India

Marzolph 2005, 7

Kingdom of ( jamshid

14)

Marzolph 2005,

Zahhak ( enthroned

20)

Marzolph 2005, 19

Faridun ( enthroned

28)

Marzolph 2005, 27

Manouchehr ( fights Tour

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34)

the crown

puts

head of Manuchehr

Marzolph 2005, 33

Fereydoon the (

42)

Marzolph 2005, 41

(

Rustam kills Za’s white elephant

48)

between

Marzolph 2005, 47

The battle Qarin ( and Afrasiyab

56)

Marzolph 2005, 55

The battle between Rustam and Afrasiyab (

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64)

Marzolph 2005, 63

(

Kay Kavus enthronedKay

68)

Marzolph 2005,

Rustam killes the white div (

74)

Marzolph 2005, 73

The battle between Rustam Hamavaran and ( king of

78)

Marzolph 2005, 77

Rustam kills Alkus in combat (

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84)

Sohrab & Hajir

Marzolph 2005, 83

(

90)

mourns Suhrab

Marzolph 2005, 89

Rustam

(

96)

Siyavush

The fire ordeal of

Marzolph 2005,

(

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102)

before Afrasiyab

Siyavush plays polo

Marzolph 2005, 101

(

108)

Marzolph 2005, 107

(

Siyavush hunts onager with Afrasiyab

114)

murder

Siavash's

Marzolph 2005, 113

(

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120)

murder

Ssorkheh's

Marzolph 2005, 119

(

130)

Marzolph 2005, 129

(

Kingdom Khosrow of Key

134)

Marzolph 2005, 133

(

Farud fights the Iranian army

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144)

open

saves his crown

Rivniz dies, but Bahram

Marzolph 2005, 143

(

148)

Key Khosrow Key

Zal and Rustam comes to

Marzolph 2005, 147

(

154)

his horse

Marzolph 2005, 153

(

Rustam kills Ashkabus and

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162)

i Chin

Marzolph 2005, 161

(

Rustam and the Khaqan

168)

Rustam & akvan div

Marzolph 2005, 167

(

174)

from the pit

Rustam rescues Bizhan

Marzolph 2005, 173

(

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180)

Marzolph 2005, 179

(

Bizhan fightes whit Nasthain

186)

Marzolph 2005, 185

the battle of eleven Rukhs

(

Piran and Gudarz agree on

192)

combat with Afrasiyab

Marzolph 2005, 191

(

Rustam counsels Kay Khusrau on

198)

again

Marzolph 2005, 197

(

Kay Kay Khusrau fights Afrasiyab

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sea

204)

Marzolph 2005, 203

Key Khosrow in Zereh (

210)

Afrasiab

Key Khosrow killed Khosrow Key the

Marzolph 2005, 209 (

216)

Luhrasp enthroned

Marzolph 2005, 215

(

222)

dragon

Marzolph 2005, 221

(

Goshtasb killes the

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228)

Marzolph 2005, 227

(

Gushtasp receives Zardusht

and converts to the faith new

234)

Marzolph 2005, 233

(

Isfandiar fights whit Arjasb

240)

Isfandiar’ssisters

Marzolph 2005, 239

(

248)

pushed by Bahman

Marzolph 2005, 247

(

Rustam kicks aside the rock

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254)

arrow

pointed

Marzolph 2005, 253

(

Rustam shoots Isfandiyar in double a with eyes the

260)

Marzolph 2005, 259

(

Rustam kills Shaghad before dying before Shaghad kills Rustam

266)

dying Dara

Iskandar attends the

Marzolph 2005, 265

(

272)

Marzolph 2005, 271

(

Ardashir enthroned Babakan

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278)

Shapur fights the Caesar

Marzolph 2005, 277

(

288)

Bahram hunts Gur lion

Marzolph 2005, 287 (

294)

Khaqan ofKhaqan Chin

Bahram captures Gur the

Marzolph 2005, 293

(

300)

monarchs

Marzolph 2005, 299

(

Bahram Gur Shangul and entertains the seven

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306)

Anushirvan enthroned

Marzolph 2005, 305

(

312)

fight

Marzolph 2005, 311

(

Anushirvan and Farfuryus

318)

Hurmuzd enthroned

Marzolph 2005, 317 (

324)

Bahram Chubina

fights Sava Shah

Marzolph 2005, 323

(

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330)

open

329

Marzolph 2005, ( Khusrau Parviz enthroned

Khusrau Parviz and

Marzolph 2005, 335)

(

Bahram Chubina fight time

340)

and Bahram Chubin

Marzolph 2005, 339

(

parviz

Last fight between Khoosrow

346)

open

and receives a reply

Marzolph 2005, 345

(

Khusrau Parviz writes to Caesar to writes Parviz Khusrau

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350)

Nowruz

Parviz

celebrating

Marzolph 2005, 349

(

Khosrow

360)

i kills Vaqqas Rustam

Marzolph 2005, 359

(

Sa`d

Conclusion The comparison shows that khoee has been influenced most by the composition and the expressions of the figures; however, By the application of visual forces and identification of the elements have created pictures in which topics and background have been integrated well and established logical relation. His attention to natural and emotional expressions of the figures has turned out the pictures to be more real.

References Etamadolsaltaneh, Mohamad Hasan Khan. 1921. Montazam Naseri. tehran. Floor, Willem M. 2002. Art and artists in Qajar Persia. Translated by yaghoub azhand. tehran: Il Shahsavan Baghdadi. Marzolph, Ulrich. 2005. Shahnameh's Alboum: Acompendiom of lighthographic Illustrations to Ferdousi's Shahnameh. Translated by mohamad hadi mohamadi. tehran: chista. Polak, Jakob Eduard. 1989. Persien: Das Land und seine Bewohner: ethnographische Schilderungen. Translated by Kei Kavous Jahandari. tehran: Kharazmi. samadee, hajar, and nemat lalei. 2009. mirza aliauli khoee's illustration of ferdowsi's shahnama. tehran: matn publisher. اعتمادالسلطنه, محمدحسن بن علی. 0011. منتظمناصری. طهران: بی نا. پوالک ,یاکوب ادوارد .1368 .سفرنامه پوالک »ایران و ایرانیان Translated by .«کیکاووس جهانداری .تهران :شرکت سهامی انتشارات خوارزمی. صمدی, هاجر, و نعمت اللهیی. 0011. تصاویر شاهنامه فردوسی به روایت میرزا علیقلی خویی. تهران: انتشارات فرهنگستان هنر.

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فلور ,ویلهلم .1381 .نقاشی و نقاشان دوره قاجاریه Translated by .دکتر یعقوب آژند .تهران :نشر ایل شاهسون بغدادی. مارزلف ,اولریش .1384 .آلبوم شاهنامه :تصویرهای چاپ سنگی شاهنامه فردوسی Translated by .محمد هادی محمدی .تهران :چیستا.