The Dragon in Medieval East Christian and Islamic Art by Sara Kuehn, Sebastian Günther, et al - HTML preview

PLEASE NOTE: This is an HTML preview only and some elements such as links or page numbers may be incorrect.
Download the book in PDF, ePub, Kindle for a complete version.

epilogue

rendered cross-legged ruler which became

that ends in a typical y “Saljuq-style” dragon head

ingrained in the Near and Central Asian regions

with small pointed ears and prominent outward-

at the beginning of the Christian era The con-

curling snout tip, the wide-open mouth revealing

ventional depiction of the two winged flying

the teeth and the tongue

geniis hovering over the sovereign while holding

In the same vein, the stirrup was associated

a shawl at either end was probably intended to

with royalty in Mongol society Juwaynī whose

bring heavenly fortune On the back of the impos-

family from Khurasan had been accustomed to

ing throne, oriented towards the ruler, are inward-

serve in the Mongol administration, records in

curving golden dragon-headed finials Crowned

his Taʾrīkh-i jahān-gushāy that “the sign of a great

by a pair of bifurcated antlers, the long upturned

emir [among the Mongols] was that his stirrups

snouts revealing sharp teeth and elongated

were of iron ”153 The use of dragon protomes on

tongue, a tangled mass of mane fluttering at the

a thirteenth-century Mongol iron stirrup frag-

back and beard projecting from the chin, they are

ment, excavated in Qaraqorum, may therefore

closely related to the dragon heads in the Jāmiʿ

reflect the exalted status accorded to the stirrup

al-tawārīkh produced in 714/1314–5 The figures

in Mongol society The inward-facing heads,

are rendered as ethnical y East Asian, presumably

which Hans-Georg Hüttel identifies as lupine

Mongol, identifiable not only by their physiog-

dragon heads,154 top the crossbar of the stirrup

nomies with slant eyes, small mouths and round

and are pictured with gaping jaws flanking the

jaws but also their attire, while the scal oped upper

slot for the stirrup strap (fig 196) 155

edge of the ceremonial chair recalls Chinese-style

The affiliation of the dragon symbolism with

models and is decorated all over with floral rep-

royalty156 took many forms In the Avestan texts

resentations that also follow sinicised conven-

the Iranian mythic hero-king Farīdūn brilliantly

tions, gold palmette-like blossoms set against a

defeated the three-headed, six-eyed dragon

black background (fig 195) From the tip of the

Dahāka and fettered and imprisoned the beast

cusped apex of the throne back projects a tall,

on Mount Damāwand,157 achieving this feat not

stemmed foliage bracketed at the stem from which

least on account of the magical powers attributed

issue stemmed blossoms held by smaller such

to him 158 Imbued with these powers, Farīdūn was

brackets The vegetal composition is flanked by

even able to assume the shape of the beast he had

the dragon heads It is interesting to compare the

vanquished, which he did to test the worthiness

representation to the similarly lavish descriptions

of his three sons, Salm, Tūr and Iraj; whereupon:

known of Qubilai’s throne at Khānbāliq:

he roared, belched anger, sowed terror, and

ornamented with dragons among clouds, and

flames came out of his mouth When his three

with a white awning and cushions embroidered

sons drew near, he saw the mountains had dark-

in gold 151

ened around; he arose, with the clouds of dust

Other emblems of power such as the dragon rod

about his feet, bearing rage and filled the world

of Mūsā are also illustrated in the surviving folios

with roar and howl 159

of the Jāmiʿ al-tawārīkh of Rashīd al-Dīn, tran-

After judging his sons’ reactions to these events,

scribed and illuminated in Tabriz under the

he divided his kingdom between them, Salm

supervision of the vizier 152 In one of the minia-

receiving the Near East, Tūr the Central Asian

tures Mūsā, Hārūn ibn ʿImrān (Aaron) and the

region beyond the Jayḥūn/Āmū Daryā (Tūrān),

Israelites stand watching the Egyptians drown in

and Iraj the centre, Iran 160 The scene is portrayed

the Red Sea (Qurʾān, sūra 28, 76–82), while Mūsā

in a miniature from the so-called small (that is,

is shown supporting himself on an elongated staff

small-format) Shāh-nāma group of manuscripts,

151 Itō Chūta, Shinakenchiku sōshoku (“Chinese Architec-

Tibet or Mongolia, tentatively dated between the twelfth

ture and Decoration”), 5 vols , Tokyo, 1943, vol 1, p 89, cited

and the fourteenth century with outward-facing dragon-

after Shatzman Steinhardt, 1988, p 72

heads, now in The Metropolitan Museum, New york, inv

152 Martin, 1912, repr 1968, vol 1, p 24, fig 12; Talbot-

no 1999 119a, b See LaRocca, 2006, p 243, cat no 127

Rice, 1957, p 61, cat no 11

156 See chapter 7

153 Tr Boyle, 1912–37, vol 1, p 22

157 yasht 5 33–5, 15 23–4; yasna 9 7–8; Vidēvdāt 1 18

154 Dschingis Khan und seine Erben, 2005, pp 166–7, cat

158 yasht 5 61–5 Cf Tafaẓẓolī, “Ferēdūn,” EIr.

no 151 (catalogue entry by Hans-Georg Hüttel)

159 Dulęba, 1995, p 58

155 Cf also a pair of stirrups in gold, silver and iron from

160 Shāh-nāma, tr and ed Mohl, 1838–1878, vol 1, p 135