نوع مقاله : مقاله پژوهشی
عنوان مقاله English
نویسندگان English
Introduction: Throughout history, horses have symbolized qualities such as courage, nobility, endurance, and freedom in many cultures. Initially, the relationship between humans and horses was primarily based on transportation, herding, and agriculture. Over time, horses became essential for riding, hunting, warfare, and military campaigns. They played a significant role in maintaining political authority, suppressing rebellions, and expanding territorial control. The mobility and strength of horses enabled riders to confront threats and contributed to the military and political dominance of states. During the Safavid period, with the support of the royal court, many arts and crafts, including book arts and textiles, reached a remarkable level of excellence. Textile production developed in close connection with contemporary painting, and many textile designs were created by skilled painters. As a result, highly refined textiles were produced through diverse techniques and decorative approaches. Among the various forms of equestrian equipment was the horse blanket, a type of horse covering produced in different forms, materials, and designs. Some blankets protected only vulnerable parts of the horse, such as the head, neck, or withers, while others covered most of the body, excluding the legs, tail, ears, eyes, mouth, and underbelly. This form of protection, known as horse armor, appears to have become widespread during the Safavid period and gradually replaced earlier forms of limited protective covering. One of the most important primary sources depicting such horse equipment is the Shahnameh of Shah Tahmasp. Its illustrations present horse armor and saddlery made not only of metal but also of richly decorated textiles, revealing aspects of the textile industry and artistic achievements of Safavid Iran during the reign of Shah Tahmasp. Although no surviving examples of Safavid horse blankets have been identified, historical texts, literary sources, and manuscript paintings provide valuable evidence for their reconstruction. The Shahnameh of Shah Tahmasp is therefore an important visual source for examining the forms and decorative designs of this largely lost artistic tradition. Since few material traces of this Safavid art industry remain, studying these visual documents is essential for understanding and reconstructing an important aspect of Iranian cultural heritage.
Purposes & Questions: This study aims to describe and analyze thirty-seven selected examples of horse blankets depicted in the illustrations of the Shahnameh of Shah Tahmasp. The research seeks to identify the types of horse blankets represented in the manuscript and to answer the following question: What decorative patterns and motifs were applied to the textile surfaces of these horse blankets?
Methods: This research was conducted using a descriptive-analytical method within a qualitative framework. Thirty-seven selected examples of horse blankets depicted in the illustrations of the Shahnameh of Shah Tahmasp were examined and comparatively analyzed to classify their motifs and decorative structures.
Findings & Results: The findings indicate that the diversity of horse blankets depicted in the Shahnameh of Shah Tahmasp provided artists with an opportunity to demonstrate their creativity and artistic capabilities. While these depictions reflect certain aspects of Safavid material culture, they should not be regarded solely as representations of historical reality. Rather, they also served as a visual field through which artists expressed their imagination and creative power. Safavid painters created innovative combinations of form and ornament in their depiction of horse blankets. The decorative patterns identified on the horse blankets can be classified into three principal groups: vegetal, animal, and abstract designs. Vegetal motifs include arabesque and Khatai patterns. Animal motifs include hunting animals, ducks, and mythical creatures. Abstract designs encompass geometric, lattice, fractal, and simple abstract patterns. The diversity of these motifs demonstrates the artistic richness of Safavid visual culture and the close relationship between painting and textile design. The findings further suggest that horse blankets were commonly used during the Safavid period as protective coverings for horses maintained in a state of readiness. Since the royal stables and the royal workshop were both associated with the court environment, artists were familiar with horses and equestrian equipment. Nevertheless, the depictions found in the Shahnameh of Shah Tahmasp appear to represent an idealized vision rather than a purely documentary record. The painters either imagined horses appearing in the same elegant and perfected form during warfare as in ceremonial settings, or they believed that a royal manuscript such as the Shahnameh of Shah Tahmasp should portray all elements in their most perfect and harmonious state. The evidence suggests a combination of both interpretations. From the perspective of Safavid court artists, whether in scenes of celebration or battle, royal life was represented in its ideal form.
کلیدواژهها English
