Comparative Analysis of Representative and Symbolic Elements in the Texts and Illustrations of Two Qajar Manuscripts of Nizami Ganjavi’s Haft Peykar

Haft Peykar (alternatively known as Haft Gonbad or Bahramnameh) represents the fourth opus of Nizami Ganjavi’s illustrious corpus, divided into epic and lyrical segments within its narrative framework. The lyrical portion delineates Bahram Shah’s encounters with princesses from seven distinct realms. While ostensibly portraying Bahram Gur’s indulgence in hedonism, the narrative interweaves profound mystical, psychological, and historical significations, discernible through a meticulous exegesis of its layered meanings. This seminal literary work has been extensively reproduced and illustrated throughout Iranian history. Within this tradition, Nizami’s narrative was visually interpreted during the Qajar era, notably in Manuscripts No. 1951 and No. 1898, produced in 1821 and 1832 and coinciding with the early Qajar era and the period under Fath-Ali Shah’s reign, respectively. These manuscripts are currently preserved in the Golestan Palace Museum in Tehran, Iran. This study aims to analyze the texts and illustrations of these two Qajar manuscripts. The primary objective is to elucidate their shared representative and symbolic elements through an exhaustive examination of their artistic attributes. The central research question posits: What are the similarities and differences in the texts and illustrations of these two Qajar manuscripts of Nizami’s Haft Peykar, and which representative or symbolic elements do they accentuate? The sampling of this research was done purposefully. The number of samples consists of fourteen illustrations, seven of which are from the copy of Khamsa Nizami No. 1951 and the other seven from the copy No. 1898, preserved in Golestan Palace Museum. The constant variable is the story of Haft Peykar. The dependent variable was how to represent this legend regarding the visual characteristics of the art of the first period of Qajar. Utilizing a comparative-analytical qualitative methodology, the data were collected through document research. The findings reveal that certain representative and symbolic elements are pivotal in the visualization of both manuscripts’ illustrations. The illustrations immediately resonate with the audience familiar with the text, invoking the thematic essence of the imagery. Notable instances include the depiction of the dome at the top of the image grid, the chromatic emphasis within each miniature, and the strategic positioning of female and male protagonists at the center of the composition. However, stylistic discrepancies are evident between the manuscripts. Manuscript No. 1898 adheres rigorously to contemporaneous stylistic conventions, portraying multiple figures with flushed countenances, elaborate attire, and opulent jewelry, accompanied by minstrels and attendants serving an array of delicacies. This manuscript embodies the quintessence of the period’s popular artistic style. In contrast, Manuscript No. 1951, from the early years of Fath-Ali Shah’s reign, depicts characters in profile with pronounced noses, sparse hair, and slender physiques, reflecting the illustrator’s limited artistic proficiency rather than intentional stylistic choice. Consequently, Manuscript No. 1898 remains loyal to the Qajar artistic style, whereas Manuscript No. 1951 diverges from this tradition. Paradoxically, Manuscript No. 1951 exhibits a higher loyalty to the literary text’s essence. Despite these stylistic variances, both manuscripts emphasize the depiction of the dome, the symbolic application of color, and other decorative components, including attire, as the most salient symbolic elements in elucidating the miniatures’ themes.