Gurdafarid is one of just a few heroines depicted in the Iranian national epic, the Shahnama (Book of Kings) by Firdawsi, which was completed around 1010. She is the daughter of a petty ruler whose fortress guards the border between Iran and Turan (the land to the east and Iran’s mortal enemy). When her father’s chief champion is captured by the invading Turanian army, Gurdafarid dons armor, tucking her hair beneath a helmet to disguise her gender, and rides out to challenge the enemy’s leader. Her courage and resourcefulness slows down the Turanian incursion, buying time for Iranian reinforcements to arrive and turn back the opposition. Yasmin Sinai dramatically visualizes Gurdafarid’s story for a contemporary audience as a reminder of the significant role of women warriors—both past and present—in Iran. The horse-headed figure carries a puppet head with the face of Gurdafarid, one of two self-portraits of the artist in a larger sculptural series depicting the mystical heroine leading her army, of which this work forms a part.

• Komaroff, Linda, Stephanie Rouinfar, Sandra Williams, and Sarah Mostafa Ahmed. Women Defining Women in Contemporary Art of the Middle East and Beyond. Los Angeles: Los Angeles County Museum of Art, 2023. https://archive.org/details/women-defining-women (accessed January 12, 2024).
• Komaroff, Linda. In the Fields of Empty Days: The Intersection of Past and Present in Iranian Art. Los Angeles: Los Angeles County Museum of Art; Munich; New York: DelMonico Books-Prestel, 2018.