Bahram Gur in the White Pavilion (detail), mid-16th century, Persian (modern Iran), Safavid period (1501–1722), opaque watercolor, ink and gold on paper, 9 3/16 x 5 7/16 in., Eugene Fuller Memorial Collection, 47.16, Photo: Marta Pinto-Llorca. Currently on view in the Ancient Mediterranean and Islamic art galleries, fourth floor, SAM downtown.
In this scene, King Bahram Gur has won the hand of seven beautiful princesses from seven distinct lands. They each entertain the great king on successive days, ensconced in different pavilions, dressed in different colors, all with different lessons for the king. Depicted here, after spending a day with each of his other six consorts, Bahram Gur visits Diroste, the daughter of a Persian king and mistress of the White Pavilion on Friday, the final day of the week. Teaching the king perhaps his most important lessons, Diroste tells of the attraction of passion, and the redemption of virtue.
The 12th-century poet Nizami is famous for setting down in writing the great folk histories of Persia. This scene is drawn from the Haft Paykar (“Seven Beauties”), one of the sections of Nizami’s Khamsa (“Quintet”). The Haft Paykar records the rise to power of the Sasanian king Bahram Gur, while also serving as a fable of love and morality.
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Haft Peykar (Seven beauties) is perhaps one of the most important works in classical Persian literature, long before Rumi, Nezami succeeded to create a genre which he masterfully developed in “seven beauties” where he explained the various philosophical and mystical concepts of his worldviews through fables and stories using the Persian historical and mythological characters to covey his thoughts and ethical teachings. This beautiful manuscript which has been illustrated probably in early Safavid era is unique since it shows the inevitable departure of artistic styles from post – Monghol traditions and formation of luxurious artistic syle of Safavid, it could be assumed that it was illustrated in Tabriz, back then the Safavid capital until the reign of Shah Tahmasb the second ruler of Safavid dynasty who changed the capital from Tabriz to Ghazvin due to strategic considerations. The style and the arrangements of verses in columns (both on top and bottom of the page)give us fair proofs to believe that it was illustrated and scripted in Tabriz ateliers. Thanks again for inviting us to this beautiful visual feast, hope to see more in future.