Iskandar's Mother Weeping Over his Bier (painting, verso; text, recto), illustrated folio from a manuscript of the Shahnama of Firdawsi

The Shahnama (Book of Kings) was composed and completed by the poet Firdawsi in 1010. It recounts Iran's history from the creation of the world to the Muslim conquest in the seventh century, weaving together the adventures of mythical heroes and historical figures. The first illustrated copy of the Shahnama dates to around the early fourteenth century and was commissioned through the patronage of the Mongol Ilkhanids (1253-1335). After this period, subsequent ruling dynasties across the region adopted the tradition of illustrating the Shahnama. This famous scene from the Shahnama illustrates the death of Alexander the Great (Iskandar), focusing on the poignant image of his mother weeping over his bier. A prominent figure in the text, Iskandar’s life of glorious conquests ends with his sudden death in faraway Babylon. The surrounding mourners amplify the emotional intensity through their vivid gestures of despair: one wipes away bitter tears while another throws a hand up in anguish, and still another rips open his garment, exposing his chest. Despite the simplicity of its setting, the composition is filled with intricate details, ranging from the exquisite wall paintings to the intricate patterns on the fabrics. In addition, the artist used expensive gold pigment liberally, filling the surface of the single hanging lamp, the four posters of Iskandar’s bier, and several architectural elements. This painting exhibits the characteristic traits of the so-called “Commercial Turkman Style” — a designation first coined by B.W. Robinson to distinguish between manuscripts produced as courtly commissions and those made for less wealthy patrons in “commercial” establishments. According to Robinson, the origins of this style can be traced to the second quarter of the fifteenth century. Between 1475 and 1500, it reached its zenith and was centered primarily around the workshops of Shiraz. Based on the details in the painting, the illustrated folio is attributed to the Aq Koyunlu Turkman workshops.