Among the most eye-catching features observable on the cultural materials of 12th-14th
centuries... more Among the most eye-catching features observable on the cultural materials of 12th-14th centuries, are painted or drawn scenes which narrate a specific story and can be classified as “narrative motifs”. One of these narrative motifs are scenes which depict Faridun’s victory over Zahhak. These motifs bring the famous story of Zahhak in Firdowsi’s Shahname to the mind. Most researchers consider these motifs exactly in the same vein i.e. as part of “Shahname-related motifs”. But this author is doubtful on asttributing these motifs to Firdowsi’s grand masterpiece. The main question here is to understand that how and in which regard this motif can be related to Firdowsi’s story of Faridun. To reach to an answer two kinds of evidence have been studied: pictorial narratives; and written narrative which describe the story of Faridun. For this reason, in the first step, all the depictions related to this story from the 12th through the 14th centuries, have been described. The repeated and distinctive motifs in these depictions have been discussed under the thematic subject termed the “Mace-wielding bull-rider”. In the second step, this thematic subject has been compared with written narratives from Firdowsi’s Shahname and the other historical sources. considering the fact that the main data used here are depictions that lack any written descriptions, the earliest illustrated manuscripts of Shahname were also studied so that we can reach a more comprehensive conclusion. In the last section, the author, by collating the pictorial and written documents, refutes the theory that takes the Shahname as the origin of the depictions of Faridun’s victory over Zahhak, and explain its as an independent and distinct narrative of Faridun’s Story.
Archaeological and Anthropological Sciences, Feb 27, 2023
Studied by micro X-ray fluorescence (µ-XRF), scanning electron microscopy-energy dispersive X-ray... more Studied by micro X-ray fluorescence (µ-XRF), scanning electron microscopy-energy dispersive X-ray spectrometry (SEM-EDS) and micro-Raman spectroscopy (µ-Raman), samples from thirteenth to fourteenth century lajvardina ceramics from various places in Iran (Takht-i Sulayman, Yazd, Sultaniya, Kashan and Rayy) showed tin oxide, haematite, chromite, manganese oxide and gold leaf have been employed on blue, turquoise and white alkali-lime and lead-alkali base glazes. It is suggested that while the overglaze decorations are metal oxides in a mixture with little amounts of their base glaze, the blue and turquoise inglaze decorations are most probably achieved by firing Co-and Cu-coloured powdered frits on a non-fired powdered base glaze, respectively. In addition, this article provides insight into the gilding decorations on lajvardina tiles by replicating several gilded samples. It is argued that a low-temperature firing has been employed for executing the overglaze lajvardina decorations on a pre-fired base glaze.
Studied by micro X-ray fluorescence (µ-XRF), scanning electron microscopy-energy dispersive X-ray... more Studied by micro X-ray fluorescence (µ-XRF), scanning electron microscopy-energy dispersive X-ray spectrometry (SEM-EDS) and micro-Raman spectroscopy (µ-Raman), samples from thirteenth to fourteenth century lajvardina ceramics from various places in Iran (Takht-i Sulayman, Yazd, Sultaniya, Kashan and Rayy) showed tin oxide, haematite, chromite, manganese oxide and gold leaf have been employed on blue, turquoise and white alkali-lime and lead-alkali base glazes. It is suggested that while the overglaze decorations are metal oxides in a mixture with little amounts of their base glaze, the blue and turquoise inglaze decorations are most probably achieved by firing Co-and Cu-coloured powdered frits on a non-fired powdered base glaze, respectively. In addition, this article provides insight into the gilding decorations on lajvardina tiles by replicating several gilded samples. It is argued that a low-temperature firing has been employed for executing the overglaze lajvardina decorations on a pre-fired base glaze.
Among the most eye-catching features observable on the cultural materials of 12th-14th
centuries... more Among the most eye-catching features observable on the cultural materials of 12th-14th centuries, are painted or drawn scenes which narrate a specific story and can be classified as “narrative motifs”. One of these narrative motifs are scenes which depict Faridun’s victory over Zahhak. These motifs bring the famous story of Zahhak in Firdowsi’s Shahname to the mind. Most researchers consider these motifs exactly in the same vein i.e. as part of “Shahname-related motifs”. But this author is doubtful on asttributing these motifs to Firdowsi’s grand masterpiece. The main question here is to understand that how and in which regard this motif can be related to Firdowsi’s story of Faridun. To reach to an answer two kinds of evidence have been studied: pictorial narratives; and written narrative which describe the story of Faridun. For this reason, in the first step, all the depictions related to this story from the 12th through the 14th centuries, have been described. The repeated and distinctive motifs in these depictions have been discussed under the thematic subject termed the “Mace-wielding bull-rider”. In the second step, this thematic subject has been compared with written narratives from Firdowsi’s Shahname and the other historical sources. considering the fact that the main data used here are depictions that lack any written descriptions, the earliest illustrated manuscripts of Shahname were also studied so that we can reach a more comprehensive conclusion. In the last section, the author, by collating the pictorial and written documents, refutes the theory that takes the Shahname as the origin of the depictions of Faridun’s victory over Zahhak, and explain its as an independent and distinct narrative of Faridun’s Story.
Archaeological and Anthropological Sciences, Feb 27, 2023
Studied by micro X-ray fluorescence (µ-XRF), scanning electron microscopy-energy dispersive X-ray... more Studied by micro X-ray fluorescence (µ-XRF), scanning electron microscopy-energy dispersive X-ray spectrometry (SEM-EDS) and micro-Raman spectroscopy (µ-Raman), samples from thirteenth to fourteenth century lajvardina ceramics from various places in Iran (Takht-i Sulayman, Yazd, Sultaniya, Kashan and Rayy) showed tin oxide, haematite, chromite, manganese oxide and gold leaf have been employed on blue, turquoise and white alkali-lime and lead-alkali base glazes. It is suggested that while the overglaze decorations are metal oxides in a mixture with little amounts of their base glaze, the blue and turquoise inglaze decorations are most probably achieved by firing Co-and Cu-coloured powdered frits on a non-fired powdered base glaze, respectively. In addition, this article provides insight into the gilding decorations on lajvardina tiles by replicating several gilded samples. It is argued that a low-temperature firing has been employed for executing the overglaze lajvardina decorations on a pre-fired base glaze.
Studied by micro X-ray fluorescence (µ-XRF), scanning electron microscopy-energy dispersive X-ray... more Studied by micro X-ray fluorescence (µ-XRF), scanning electron microscopy-energy dispersive X-ray spectrometry (SEM-EDS) and micro-Raman spectroscopy (µ-Raman), samples from thirteenth to fourteenth century lajvardina ceramics from various places in Iran (Takht-i Sulayman, Yazd, Sultaniya, Kashan and Rayy) showed tin oxide, haematite, chromite, manganese oxide and gold leaf have been employed on blue, turquoise and white alkali-lime and lead-alkali base glazes. It is suggested that while the overglaze decorations are metal oxides in a mixture with little amounts of their base glaze, the blue and turquoise inglaze decorations are most probably achieved by firing Co-and Cu-coloured powdered frits on a non-fired powdered base glaze, respectively. In addition, this article provides insight into the gilding decorations on lajvardina tiles by replicating several gilded samples. It is argued that a low-temperature firing has been employed for executing the overglaze lajvardina decorations on a pre-fired base glaze.
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centuries, are painted or drawn scenes which narrate a specific story and can be classified
as “narrative motifs”. One of these narrative motifs are scenes which depict Faridun’s
victory over Zahhak. These motifs bring the famous story of Zahhak in Firdowsi’s
Shahname to the mind. Most researchers consider these motifs exactly in the same vein
i.e. as part of “Shahname-related motifs”. But this author is doubtful on asttributing
these motifs to Firdowsi’s grand masterpiece. The main question here is to understand
that how and in which regard this motif can be related to Firdowsi’s story of Faridun.
To reach to an answer two kinds of evidence have been studied: pictorial narratives; and
written narrative which describe the story of Faridun. For this reason, in the first step,
all the depictions related to this story from the 12th through the 14th centuries, have been
described. The repeated and distinctive motifs in these depictions have been discussed
under the thematic subject termed the “Mace-wielding bull-rider”. In the second step,
this thematic subject has been compared with written narratives from Firdowsi’s
Shahname and the other historical sources. considering the fact that the main data used
here are depictions that lack any written descriptions, the earliest illustrated manuscripts
of Shahname were also studied so that we can reach a more comprehensive conclusion.
In the last section, the author, by collating the pictorial and written documents, refutes
the theory that takes the Shahname as the origin of the depictions of Faridun’s victory
over Zahhak, and explain its as an independent and distinct narrative of Faridun’s Story.
centuries, are painted or drawn scenes which narrate a specific story and can be classified
as “narrative motifs”. One of these narrative motifs are scenes which depict Faridun’s
victory over Zahhak. These motifs bring the famous story of Zahhak in Firdowsi’s
Shahname to the mind. Most researchers consider these motifs exactly in the same vein
i.e. as part of “Shahname-related motifs”. But this author is doubtful on asttributing
these motifs to Firdowsi’s grand masterpiece. The main question here is to understand
that how and in which regard this motif can be related to Firdowsi’s story of Faridun.
To reach to an answer two kinds of evidence have been studied: pictorial narratives; and
written narrative which describe the story of Faridun. For this reason, in the first step,
all the depictions related to this story from the 12th through the 14th centuries, have been
described. The repeated and distinctive motifs in these depictions have been discussed
under the thematic subject termed the “Mace-wielding bull-rider”. In the second step,
this thematic subject has been compared with written narratives from Firdowsi’s
Shahname and the other historical sources. considering the fact that the main data used
here are depictions that lack any written descriptions, the earliest illustrated manuscripts
of Shahname were also studied so that we can reach a more comprehensive conclusion.
In the last section, the author, by collating the pictorial and written documents, refutes
the theory that takes the Shahname as the origin of the depictions of Faridun’s victory
over Zahhak, and explain its as an independent and distinct narrative of Faridun’s Story.