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Collections

Bishandas
Faridun Strikes Zahhak, Folio from a Shahnama (Book of Kings)circa 1610

Not on view
Persian manuscript page with central miniature painting in cobalt and gold border, showing a multi-figure narrative scene inside an architectural setting, surrounded by Persian script and gold-painted animals on floral marginal decoration
Artist or Maker
Bishandas
India, active circa 1590-1640
Artist or Maker
Inayd Inayat
India, active circa 1590-1615 (?)
Title
Faridun Strikes Zahhak, Folio from a Shahnama (Book of Kings)
Place Made
India, Mughal Empire
Date Made
circa 1610
Medium
Opaque watercolor, gold, and ink on paper
Dimensions
Sheet: 13 5/8 x 9 in. (34.61 x 22.86 cm); Image: 5 7/8 x 4 1/4 in. (14.92 x 10.8 cm)
Credit Line
From the Nasli and Alice Heeramaneck Collection, Museum Associates Purchase
Accession Number
M.78.9.5
Classification
Drawings
Collecting Area
South and Southeast Asian Art
Curatorial Notes

The Shahnama (Book of Kings) is an epic Persian poem composed by Firdausi (or Ferdowsi; circa 934-1020) in circa 977-1010. It narrates the legendary and historical past of the Persian Empire until the Arab Muslim conquest in the 7th century. Mounted in ornate gilded borders featuring a landscape with scenes of animal combat, similar to those of the 1608 Farhang-i Jahangiri (Jahangir’s Dictionary; see M.73.5.535–.537), this folio has been attributed to a now-dispersed royal album. A related folio suggested by Linda Leach to be from a court copy of this manuscript is in Cleveland Museum of Art (1945.171). According to the marginal inscriptions, the LACMA folio was painted by Bishandas (India, active circa 1590-1640) and Inayd Inayat (India, active circa 1590-1615?). Inayat may have been responsible for the design and overall execution, while Bishandas executed the figures.

This folio depicts an episode from the Shahnama in which the hero Faridun strikes the evil Iranian King Zahhak with an ox-headed mace (gorz) symbolic of righteous might that was also wielded by other heroes in the Shahnama, particularly Bahram Gur and Rustam. (For a typological example, see a 19th-century Iranian ox-headed mace in the Metropolitan Museum of Art, New York; 36.25.1882.) Zahhak had confronted Faridun in the former’s palace after Faridun occupied it during his absence and dallied with his wives. The women of the harem look on in dismay, while Zahhak’s army engages Faridun’s followers at the gate.

Selected Bibliography
  • Heeramaneck, Alice N. Masterpieces of Indian Painting : From the Former Collections of Nasli M. Heeramaneck. New York: A.N. Heeramaneck, 1984.
  • Pal, Pratapaditya, ed. Aspects of Indian Art: Papers Presented in a Symposium at the Los Angeles County Museum of Art. Leiden, The Netherlands: E.J. Brill, 1972.
  • Rosenfield, John. The Arts of India and Nepal: The Nasli and Alice Heeramaneck Collection. Boston: Museum of Fine Arts, Boston, 1966.
  • Pal, Pratapaditya. Indian Painting, vol.1. Los Angeles: Los Angeles County Museum of Art, 1993.
  • Art of India and Southeast Asia. University of Illinois, Champaign: Krannert Art Museum, 1964.