Representation of Applied Metalworks of the Safavid Era Based on the Illustrations of the Shahnameh of Shah Tahmasabi

Introduction: The study of Islamic metalwork reveals that the majority of preserved works in museums, private collections, or historical sources consist of copper, iron, and bronze artifacts. In contrast, objects crafted from gold and silver are rarely encountered today. Their absence is primarily explained by two factors: the corrosive properties of certain metals, which caused deterioration over time, and the high intrinsic value of gold and silver, which led to the frequent melting and recycling of such objects for financial and economic purposes. As a result, scholars face limitations when attempting to reconstruct the material culture of the Safavid period solely through extant artifacts. Paintings, therefore, emerge as the most reliable documentary evidence for understanding the types of functional utensils and vessels used at the Safavid court. These illustrations not only capture everyday and ceremonial scenes, but also portray objects with a striking degree of realism and technical detail, allowing researchers to infer their forms, functions, and decorative characteristics.
Purposes & Questions: The primary purpose of this article is to conduct a systematic analysis of functional metal objects as represented in the illustrations of the Shahnameh of Shah Tahmasabi, one of the most celebrated manuscripts of the Safavid era. This research is guided by two central questions: (1) Which functional objects of the Safavid era are depicted in the Shahnameh of Shah Tahmasabi? (2) What materials, shapes, and decorative techniques characterize these objects? By addressing these questions, the study seeks to contribute to a more nuanced understanding of Safavid craftsmanship, courtly life, and the symbolic significance of objects in Safavid visual culture.
Methods: This research employs a descriptive-analytical method with a qualitative approach, focusing on the visual analysis of illustrations from the Shahnameh of Shah Tahmasabi. Data were collected using both library sources and electronic databases. The initial corpus consisted of 60 illustrations from the manuscript, dated 931 AH. From this group, 20 images were selected through non-probability judgmental sampling, with the key criterion being the presence of at least one metal object in each illustration. In order to ensure a diverse and representative set of objects, repetitive or overly similar depictions were excluded. The objects examined and classified in this study include Sorahi (flasks), Abriq (ewers), pitchers, teapots, candlesticks, torches, censers, medical instruments, and kitchen utensils. Each object type was analyzed in terms of form, materiality, decorative patterns, and functional context within the Safavid court.
Findings & Results: The analysis demonstrates that the illustrated objects of the Safavid period, as preserved in the Shahnameh of Shah Tahmasabi, correspond closely to descriptions provided by contemporary travelers and chroniclers. The findings suggest that these paintings offer an invaluable and realistic representation of metal objects that are otherwise absent from museum collections today. While certain categories of Safavid metalwork, such as military arms, have survived, the functional utensils used daily and in ceremonial contexts at court—such as Sorahi flasks, Abriq ewers, candlesticks, censers, torches, and kitchen vessels—are primarily known through illustrated manuscripts. Particularly noteworthy among these are the Sorahi flasks, which appear frequently and with careful detail. Their golden appearance in the illustrations strongly suggests that they were made of gold, emphasizing both their practical function and their symbolic value as luxury objects. These flasks typically feature a spherical body, an elongated cylindrical neck, and a small lidded container attached by a chain. They were commonly placed on golden trays or within basins lined with velvet, highlighting their role in the courtly etiquette of serving guests. Decorative features include engraved motifs, grooved or spoon-like designs reminiscent of Achaemenid vessels, and occasional inlays of precious stones. Geometric and plant motifs are also prominent, reflecting the broader aesthetic traditions of the Safavid era. Other vessels, such as basins and various containers, share similar material and decorative features. Their inclusion of handles and spouts suggests practical use for washing and ablution, consistent with the Islamic emphasis on ritual cleanliness before meals and prayers. Censers are depicted in several illustrations, often crafted from gold or silver, and were used for perfuming palace interiors with incense, thereby combining functionality with sensory and ceremonial significance. Candlesticks, frequently shown in palatial contexts, are characterized by circular or octagonal bases and decorated with geometric, vegetal, or inscribed motifs. Torches appear as square or rectangular mesh containers, likely made of copper or bronze, and were produced using stationary chopping techniques. These details confirm the advanced technical skill of Safavid metalworkers. In sum, the study reveals that the Shahnameh of Shah Tahmasabi is not merely a literary and artistic masterpiece, but also a vital visual record of functional metal objects in Safavid Iran. Through its meticulous illustrations, the manuscript preserves evidence of utensils and vessels that no longer survive in physical form. By situating these depictions within their cultural and historical context, this article highlights the importance of illustrated manuscripts as a complementary source for reconstructing the material culture of the Islamic world.