late 16th century to early 17th century
In this scene Siyavush shown galloping into the fire while his father, also mounted, watches anxiously from the forecourt of his nearby palace. Peering from the window above is the would-be seductress, Sudaba, who gestures toward Siyavush. The handsome prince, his black mount, and the towering golden flames that engulf them are here closer to the center of the composition. Although hairstyles and headgear differ, the two versions of this scene in the Calderwood Collection feature similar architectural decoration. Furthermore, the compositional elements that they share irrespective of format suggest the existence of an established iconographic convention for illustrating this episode of the Shahnama.
34 x 21.4 cm (13 3/8 x 8 7/16 in.)
[Hadji Baba Ancient Art, London, 1985], sold; to Stanford and Norma Jean Calderwood, Belmont, MA (1985-2002), gift; to Harvard Art Museums, 2002.
Ink, opaque watercolor and gold on paper
13th centuryEgyptianInk, opaque watercolor and gold on vellum
9th-10th centuryArabInk, opaque watercolor and gold on paper
13th centuryEgyptianManuscript in book form; ink on paper
13th-14th centuryJapaneseInk, opaque watercolor and gold on paper
19th centuryPersianInk, colors, and gold on paper
16th centuryPersianInk, opaque watercolor and gold on paper
18th-19th centuryOttomanThe twenty-fourth of a series of 54 backing sheets mounted in an album; ink and color on paper
16th centuryJapaneseInk on parchment
9th centuryArabTwo-sided, horizontal, accordion-fold manuscript; ink, color and gold on paper
19th centuryThaiDouble-sided, detached leaf from an incomplete manuscript; ink, color, and gold on black paper
18th centuryNepalesePainting with text; ink, opaque watercolor and gold on paper
17th centuryOttoman