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Collections

Unknown
Rakhsh Saves Rustam from a Lion (recto), Text (verso), Folio from a Shahnama (Book of Kings)circa 1500

On view:
Geffen Galleries, Persianate Arts: The Ardabil Carpet and Manuscript Painting
Illustrated Persian manuscript page with a painted miniature showing a robed figure crouching beside a pale horse and a reclining lion, surrounded by columns of Persian script in black ink

Unknown, Rakhsh Saves Rustam from a Lion (recto), Text (verso), Folio from a Shahnama (Book of Kings), circa 1500, Los Angeles County Museum of Art, Paul Rodman Mabury Collection, photo © Museum Associates/LACMA

Artist or Maker
Unknown
Title
Rakhsh Saves Rustam from a Lion (recto), Text (verso), Folio from a Shahnama (Book of Kings)
Place Made
Northern India or Deccan
Date Made
circa 1500
Medium
Opaque watercolor, gold, and ink on paper
Dimensions
Image: 4 3/4 x 6 1/8 in. (12.07 x 15.56 cm); Sheet: 14 x 9 3/4 in. (35.56 x 24.77 cm)
Credit Line
Paul Rodman Mabury Collection
Accession Number
39.12.72
Classification
Drawings
Collecting Area
South and Southeast Asian Art
Curatorial Notes

The Shahnama (Book of Kings), the Iranian national epic, was composed by Firdawsi and completed around 1010. It chronicles in verse the legendary and historical kings and heroes of the Persian Empire up to the Arab Muslim conquest in the seventh century. Illustrated manuscripts of the text were widely circulated as well as produced throughout the Persian-literate world, including South Asia, where it was admired at the Muslim courts for its grandeur and association with Persian kingship traditions. Indian copies of the Shahnama first appeared in the fourteenth century, increasing in production during the fifteenth century.

This folio depicts Rustam, the Shahnama’s greatest hero, during his first labor in the Haft Khan-i Rustam (Rustam’s Seven Labors). Clad in his iconic tiger-skin jacket and leopard-headed helmet, Rustam dozes in the lion’s lair, protected by his loyal horse Rakhsh, who kills the attacking lion. Stylistically, the painting aligns with other Shahnama illustrations attributed to sultanate India, including the use of bright orange pigment. As is typical, it also demonstrates a close relationship with the Shiraz style of painting, as in the high horizon, golden sky with scalloped cloud band, and mountainous landscape with clusters of flowers. The later gold-decorated border and, on the reverse, an attached page of text that appears to be from the same manuscript, suggest that this folio was added to an album.

2025

Selected Bibliography
  • Pal, Pratapaditya. Indian Painting, vol.1. Los Angeles: Los Angeles County Museum of Art, 1993.
  • Pal, Pratapaditya, Thomas W. Lentz, Sheila R. Canby, Edwin Binney, 3rd, Walter B. Denny, and Stephen Markel. "Arts from Islamic Cultures: Los Angeles County Museum of Art." Arts of Asia 17, no. 6 (November/December 1987): 73-130.