بازنمود نقش "شمن" در سوگ‌نگاره‌های شاهنامه بزرگ ایلخانی

Ilkhani's great Shahnameh drawings depict Mongolian rulers' aspirations, ideals, and desires as well as their way of life and culture. Such a depiction in connection with Turco-Mongolian culture is described in the obituaries of Esfandiar, Rostam and Zavareh, Iraj and Iskandar in Ilkhani's Great Shahnameh. In addition to claiming descent from a line of Iranian heroes, the Ilkhanids believed they possessed the spiritual strength to introduce the old deity to foreign peoples. They were able to build their political legitimacy in Iran in this manner. During the reign of Ghazan Khan, they built and cultivated vast scientific and cultural colonies, and the first school of painting in Iran (Tabriz I) was established. They illustrated scientific, historical, and literary works. By collaborating with international artists and utilizing Iranian book design art. In one of the most notable of these, Shahnane Ferdowsi, he recounts court events, battles, hunts, odd experiences, and bereavements. Death and mourning ceremonies in Ilkhani Shahnameh's paintings were associated with specific customs and traditions, which undoubtedly have their roots in Turco-Mongolian beliefs. This illustrated Shahnameh, also known as "Great Ilkhani Shahnameh" or "Tabriz Shahnameh," was created for Abu Sa'id, the last monarch of the Ilkhanid dynasty, and is also known as "Abu Sa'idi Shahnameh." On the other hand, at the turn of the twentieth century, this Shahnameh was known as Shahnameh "Demut" after its owner.
How are Iranian legendary heroes portrayed in Ilkhani's Great Shahnameh mourning paintings in relation to the Mongol and shaman mourning rituals? is the fundamental problem statement driving the research. Religious shamans were referred to as "Buga" in Mongolian culture and "Qam" in Turkish culture. They were regarded the most powerful and influential stratum of Ili-Mughal society, ruling not only over people's spirits but also over their bodies.The "shaman" lifts the soul out of his body in a state of trance and attraction and sends it flying across the sky and the earth because of his power to govern the soul. He had gained the ability to heal the sick by developing strength and understanding in the face of truth. He was the link between people and the gods, accompanying and guiding the spirits of the dead to their new home (realm of death). The explanation is obvious: the shaman understands the route and is capable of controlling and accompanying the spirit, whether human or animal.
The study's objective is to illustrate the shaman's function in Esfandiar, Rostam and Zavareh, Iraj and Iskander's mourning paintings from the Great Shahnameh of Ilkhani. The research will therefore attempt to address the following questions: 1- How is the "shaman" portrayed in Ilkhani's great Shahnameh? 2 - In the paintings, how did the "shaman" carry out his role? The research method is descriptive-analytical. Given the Mongols' shamanic beliefs, this study investigates the shaman and his place in the Great Ilkhani Shahnameh's mourning portrays. According to Mongol beliefs, the shaman performs specific ceremonies to transport the souls of prominent officials to the home of the gods. The technique for acquiring data makes use of library resources.
The study's findings indicated that the presence of "shamans" at the funeral confirms the deceased individual's social position as well as the spiritual significance of the ceremony. The placement of the deceased's coffin in the centre of the mourning images also suggests his high social standing. The shaman is portrayed as an elderly man in the paintings. He is the sole character with a white beard wearing a white cap and a brown bodysuit, however, In the portrayal of Esfandiar's coffin face, he is seen with black hair, a black beard, and a white bodysuit. In open or enclosed spaces, the shaman guides and assists the remains of Iran's legendary heroes. He and his associates lead the dead to the afterlife during the mourning ceremony by engaging in dances or other repetitive motions while in a trance. It is highly likely that the symbolism of the stone pillars in the enclosed area, the staffs, the drums, and the ladder like road of hats in the open area indicate the magico-religious ability of the "shamans" to lead the dead to the afterlife. Furthermore, the image of "shamans" dressed in white and brown attire may refer to their aptitude for using spirit and trickery on their ascent to paradise or to their nomadic lifestyle. As for how shaman priests were distinguished from one another, we can also claim that it was based on the color of their clothing. The Great Shahnameh of Ilkhani's obituaries serve as a record of the political, social, and cultural climate as well as the opinions of Iran's art patrons and artists throughout this time. Finally, changes in the Turco-Mongol economy, lifestyles, foreign influences, and their sociological evolutions likely altered the symbolic nature of Ilkhani's "shamanic" language in contact with the gods.