Volume 1, Issue 1 (6-2026)
Miras-e Iran Zamin 2026, 1(1): 17-34 |
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moradian gojehebaglo Z, mirshafiee M. رواﻳﺖ ﻋﺸﻖ و آزادی در ﺑﺎزﻧﻤﺎﻳﻲ ﻧﻘﺸﻤﺎﻳﻪ »ﺑﻬﺮام و آزاده« در ﻫﻨﺮ اﻳﺮان. Miras-e Iran Zamin 2026; 1 (1) :17-34
URL: http://tna.richt.ir/article-14-1862-en.html
URL: http://tna.richt.ir/article-14-1862-en.html
1- Lecturer and PhD student, Tabriz Islamic Art University, Faculty of Industrial Arts, Tabriz, Iran , Z.moradian@tabriziau.ac.ir
2- Faculty, Tabriz Islamic Art University, Faculty of Industrial Arts, Tabriz, Iran
2- Faculty, Tabriz Islamic Art University, Faculty of Industrial Arts, Tabriz, Iran
Abstract: (93 Views)
The story of Bahram and Azadeh is one of the prominent romantic, tragic, and mythological narratives of Persian literature, vividly portrayed in the works of poets such as Nezami, Ferdowsi, and Amir Khusrow Dehlavi. This tale presents a compelling interplay of love and power and reflects their ultimate destiny. As a narrative motif, it has been repeatedly employed by artists across different historical periods, both before and after the advent of Islam, in various forms of visual representation. The present study investigates a range of artworks, including miniature paintings, ceramic vessels, tilework, and gold- and silverware, analyzing their visual data and underlying meanings. Its primary aim is to examine the form and content of these works and to categorize the narrative motifs of this story based on their semantic attributes. The central research question concerns the ways in which the conceptual dimensions of the Bahram-Gur narrative are referenced within these artworks. This research adopts a descriptive-comparative approach grounded in visual analysis, with data collected through fieldwork and documentary sources. Findings indicate that the visual and conceptual patterns associated with Bahram-Gur originate from an ancient oral tradition rooted in Iranian myth-history. The motif held significant visual importance during the Sasanian era, where it frequently appeared across diverse artistic artifacts. Its prominence persisted after the adoption of Islam, continuing as one of the most enduring and highly valued motifs in the art and literature of later Islamic periods in Iran
Keywords: Bahram and Azadeh, Hunting Scene, Ferdowsi’s Shahnameh, Nezami’s Khamsa, Islamic Art, Sasanian Art
Type of Study: Original Research Article |
Subject:
Iran Heritage
Received: 2024/12/30 | Accepted: 2025/04/29 | Published: 2026/06/17
Received: 2024/12/30 | Accepted: 2025/04/29 | Published: 2026/06/17
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