Document Type : علمی- پژوهشی

Author

• Fatemeh Mahvan

Fatemeh Mahvan Assistant professor Persian Language and Literature Ferdowsi University of Mashahd.Iran

Abstract

Tarikh Jahangosha narrates the invasion and rule of the Ilkhanid over Iran. Illustrated manuscripts of Tarikh Jahangosha reveal the terribly painful memories that Iranian kept in their heart’s wounds by Ilkhanid rulers. Visual language of the Illustrations shows secrets of history that cannot be expressed by the text. Therefore, the study of these paintings is as important as the study of its text. This article examines Tarikh Jahangosha’s paintings from the perspective of symbolism and composition by study on two illustrated manuscripts. Then, it answers these questions: symbolism in Tarikh Jahangosha have been influenced by what cultures? What pictorial features did the painters use to show the legitimacy of the kings (Farreh)? How does the images composition reveal the narrative of victory or defeat? The results show that paintings represent a hidden part of the history that cannot be achieved in the text, so we should pay more attention to the paintings of historical texts as a visual language and valuable historic document.

Highlights

Visual Language of Târix-e Jahângošâye Joveini: A Study of Two Illustrated Manuscripts of Târix-e Jahângošâ[1]

Abstract

Târix-e Jahângošâ narrates the invasion and rule of the Ilkhanate over Iran, and its miniatures reveal a hidden narrative; the painful memories of Iranian’s life under the Ilkhanate rule. The visual language of miniatures occasionally divulges some aspects of history, which cannot be expressed through the ordinary language of texts. Hence, the study of miniatures of Târix-e Jahângošâ is as significant as the study of its original text. In view of this background, the present paper examines miniatures of Târix-e Jahângošâ from the perspectives of symbolism and visual structures to show how historical unspoken facts are hidden in the symbols and visual codes. The researcher tries to unearth the truth behind these symbols and bring to light what the miniature artist had concealed in the images across the eons. This article studies two illustrated manuscripts to address threes questions: which discourses‌ had an influence on symbolism in miniatures of Târix-e Jahângošâ? which pictorial features did miniature artists employ to accept or reject the legitimacy of the Ilkhanid dynasty kings? and how does the image structure manifest victory and defeat narratives? The findings suggest that the miniature artist made use of visual signs through an allusive language to indicate that the Ilkhanids were never recognized as legitimate and true rulers by Iranians and they will be remembered only as extortionists and outrageously bloodthirsty people throughout history. The miniature artist endeavors to reveal his inner thoughts in not accepting Ilkhanate rulers as legitimate rulers of Iran, stressing the fact that there is a big difference between someone who has divine farr(ah) and someone who merely wears a royal crown. These miniatures have revealed part of history which cannot be found in the texts. More attention should therefore be paid to miniatures of historical texts as a living language of history and each miniature should be treated as a historical document.

Keywords: Târix-e Jahângošâ, Atâ-Malek Joveini, Miniature Painting, Codicology, Ilkhanid Era.

 

 

Introduction

Miniatures of Târix-e Jahângošâ present the narrative of the Ilkhanate through visuals. Narrative found in books featuring history bear a pompously monarchial tone—as is often quoted—history is written by victors. Visual narratives normally appear in the form of symbols and signs and only those with enough visual acuity can appreciate them, and those who are visually illiterate see nothing but colors and designs in the visual narratives and cannot see a step beyond visual pleasure.

 

Research Questions

The present research analyzes the two manuscripts and examines how miniatures can be employed and treated as historical documents. This study endeavors to address these questions:

• Which discourses‌ had an influence on symbolism in miniatures of Târix-e Jahângošâ?
• Which pictorial features did miniature artists employ to accept or reject the legitimacy of the Ilkhanid rulers?
• How does the image structure manifest victory and defeat narratives?

 

Research Methods

This research examines miniatures of Târix-e Jahângošâ from various perspectives of symbolism, visual structures, portraiture and farr(ah). Târix-e Jahângošâ is from a version that failed to grab the attention of miniature artists for portraiture. Our search suggests that two illustrated manuscripts are available to researchers; one belonging to the Baghdad school and the other to the Shiraz school.

1. Târix-e Jahângošâ dates back to 4 Dhu al-Hijjah 689 AH, Baghdad school at Ilkhanid dynasty and is now kept at Bibliothèque Nationale de France with the number of Sup Persan 205. The creation of the miniatures of the oldest copy of Târix-e Jahângošâ coincided with the Ilkhanid regime in Baghdad. This copy is compiled in three volumes in 330*255 mm with 175 pages of 27 lines. The scribe was Rašidxâni or Xâfi who wrote it in Naskh script.

 

2. Târix-e Jahângošâ ye Joveini can be traced back to 689 AH, Shiraz school at Timurid dynasty and is now kept at Bibliothèque Nationale de France with the number of Sup. Persan 206. Miniatures of this copy were created at Timurid dynasty and this copy is decorated with six miniatures in the style of the Shiraz school.

 

Analysis

Analyzing the miniatures from a symbolism perspective suggests that miniature artists took advantage of kings and rulers’ ignorance and relied on visual symbols for everything that cannot be fully expressed in words. For example, the artist portrayed the Ilkhanid king with two ancient symbols of Iranian culture, namely, fish and pomegranate. Indeed, the ruler is seen picking flowers from the pomegranate tree. These flowers were not drawn in a natural way as they resemble the abstract image of the pomegranate flower in Persian art. This helps the artists use the allusive language to express that the Ilkhanids relied on the big tree of Iranian culture. Owing to the fruits of this tree (pomegranate represents blessing), this community of primitive nomadic and wild people greatly enjoyed and benefited from Iran’s rich cultural heritage and knowledge.

A comparative analysis of the miniatures of Târix-e Jahângošâ with The Great Mongol Shahnameh from the perspective of visual structures indicates that the author’s intention is effective in illustration because when the artist portrays the Shahnameh, he becomes the narrator of a history that Ferdowsi brought to life with his poems so as to preserve Iranian identity and safeguard Persian language and culture. However, when it comes to the miniatures of Târix-e Jahângošâ, the artists were only concerned with history. Indeed, the miniature artist of Târix-e Jahângošâ formed the visual structures in such a way that no difference is felt between the scenes of war between the dominant and the vanquished. In other words, both sides have equally occupied all the available space in the image or, in the words of the artist, the land. When the question of national identity comes to the surface, the miniature artist of The Great Mongol Shahnameh portrays the conquering nation at its peak, while the vanquished nation is depicted in absolute obscurity, aiming to express in the visual language that those coveting the land of Iran are doomed to annihilation.

Analyzing the miniatures from a portraiture perspective shows that drawing round-shaped faces with almond-shaped eyes, skinny brows and small mouths was common throughout the Mongol empire. Additionally, this method of portraiture had already been presented and gradually established in poetry where it was employed to display the face of the beloved in poetry. Although this portrait has nothing to do with the face of the Iranian race, it— as is often quoted history is written by victors—was directly attributed to the Iranian race, and consequently their face, and even worse, the portrait was used to represent features of the beautiful and loving beloved.

The study of farr(ah) suggested that for the artists, the rulers and kings were not worthy of farr(ah); therefore, they portrayed them as primitive nomadic and wild people whose throne is only a Bedouin tent in the desert rather than a lion head throne, which only deserve kings.

Conclusion

Overall, this conclusion can be made that the miniatures of Târix-e Jahângošâ are not only an ornament for decorating the manuscript but an illustrated history that tells the unsaid content and unspoken historical facts through the visual language so that it is remembered by intelligent people. The research findings reveal that the miniature artist made use of visual signs through an allusive language to show that the Ilkhanids were never recognized as legitimate and true rulers by Iranians. Throughout history, they will be remembered only as extortionists and outrageously bloodthirsty people. Through visual signs, the miniature artist endeavors to reveal his inner thoughts in not accepting the Ilkhanids as legitimate rulers of Iran, stressing the fact that there is a big difference between someone who has divine farr(ah) and someone who merely wears a royal crown. These miniatures have revealed part of history which cannot be found in texts. More attention should therefore be paid to miniatures of historical texts as a living language of history and each miniature should be treated as a historical document.

 

Keywords: Târix-e Jahângošâ, Atâ-Malek Joveini, Miniature Painting, Codicology, Ilkhanid Era.

 

References

Âmuzgâr, Ž. (1387), Târix-e asâtir-e Iran, Tehran: Samt.

Javâdi, š. (1373), giyâhân-e moqaddas, Tehran: Mo’asseseye Joqrâfiyâ’i va Entešârât-e Eršâd.

Joveini. Atâ-Malek Mohammad (1378), Târix-e Jahângošâye Joveini, tashih M. Qazvini, Tehran: Naqš-e Qalam.

Hasan, Z. M. (1372), Târix-e naqqâši dar Iran, tarj. A. Sahâb, Tehran: Sahâb.

Akkâše, S. (1380), Negâr-gariye eslâmi, tarj. Q. Tahâmi, Tehran: Sâzmân-e Tabliqât-e Eslâmi.

Hasanvand, M. K. & Š. Âxundi (1391), “Barrasiye seir-e tahavvol-e čehr-negâri dar negâr-gariye Iran tâ entehâye doureye Safaviyye”, Negare, šomâreye 24, 15-35.

 

[1] Fâeme Mâhvân, Assistant Professor of Persian Language and Literature, Ferdowsi University of Mashhad; f.mahvan@ferdowsi.um.ac.ir

 

Keywords

• Tarikh Jahangosha
• Ata Malek Joveyni
• Persian painting
• Manuscript
• Ilkhanid era

Main Subjects

• Script