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Double page: The Trial by Fire of Siyavush (painting, verso; text, recto), left-hand side of a double-page painting from a manuscript of the Shahnama by Firdawsi

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This painting is part of a double-page composition that depicts the redemption of prince Siyavush, son of the Iranian king Kay Kavus. When Siyavush rebuffed the advances of his stepmother, Sudaba, she accused him of attempting to rape her. The king, after conducting an inconclusive investigation, asked both Sudaba and Siyavush to undergo a trial by fire. Sudaba refused; Siyavush agreed and emerged from the burning pyre unscathed and triumphant. The painting on the left shows Siyavush galloping on his black horse through the engulfing flames. The king, also mounted, watches intently from the rocks above. On the right is the brightly tiled royal palace, from which Sudaba, finger to mouth, peers down in amazement. Wide illuminated borders, here consisting of geometric compartments, surround the composition.
Department of Islamic & Later Indian Art [Mansour Gallery London 1990 or 1992] sold; to Stanford and Norma Jean Calderwood Belmont MA (1990 or 1992 - 2002) gift; to Harvard Art Museums 2002. Harvard Art Museums/Arthur M. Sackler Museum The Norma Jean Calderwood Collection of Islamic Art
Title: Double page: The Trial by Fire of Siyavush (painting, verso; text, recto), left-hand side of a double-page painting from a manuscript of the Shahnama by Firdawsi
Description:
This painting is part of a double-page composition that depicts the redemption of prince Siyavush, son of the Iranian king Kay Kavus.
When Siyavush rebuffed the advances of his stepmother, Sudaba, she accused him of attempting to rape her.
The king, after conducting an inconclusive investigation, asked both Sudaba and Siyavush to undergo a trial by fire.
Sudaba refused; Siyavush agreed and emerged from the burning pyre unscathed and triumphant.
The painting on the left shows Siyavush galloping on his black horse through the engulfing flames.
The king, also mounted, watches intently from the rocks above.
On the right is the brightly tiled royal palace, from which Sudaba, finger to mouth, peers down in amazement.
Wide illuminated borders, here consisting of geometric compartments, surround the composition.

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