Bahram Gur and Azada's Representations

¶ … Bahram Gur and Azada's Representations The significance of Bahram Gur and Azad scene depiction is on artistic bowls of the medieval time. The bowls refer to ceramics, which illustrate different stories of Persian epic. This form of ceramic in modern times associate with Islamic ceramics, and it is a medieval enameling technique of Persia. These forms of enamel characterized by painting also relate to abundant figurative decorations. Few examples indicate that these paintings originate from the city of Kashan (Richard 25-31).

The city was a leading manufacturing centre during the period. Decoration of minai', a painting, which uses both over glazed and unglazed techniques, was famous with the town of Kashan. Description of Appearance of the Bowls All minai bowls or vessels are typical white, but at times have turquoise. The technique of decoration is inglaze technique where decorations application is over unfired base, and during firing, the pigments sink into molten matrix. The colorants in this method are clay or quartz.

The mixture's temperature rises beyond melting point that inhibits dissolution at high temperatures. These high temperatures ensure that the base glaze needs fusing. Overgrazed decorations, on the other hand; the application occurs on the surfaces of fired base glaze while the bowl contains frit which is glass powdered, fused and cooled in preparation for use during the second time of firing. Second firing in this technique is very important since it binds the pigments on the surfaces of the enamel.

Decorations are in red, black, pink, white, green, yellow, and turquoise. Most common colors in use are blue, black, and red. Black pigment in the enamel is a product of the mineral chromate. The particles elongation measures sixteen million microns in size. The particles may appear either brown or blue, but they are black in general. Those glazed layers are a representation of green haloes, a characteristic that can help distinguish manganese-based black coloring in medieval Islamic ceramics.

The lack in rounding of particles in glaze layers is an indication of high melting points, which may result to a shiny black element. Chromate is nearly in every piece of ceramics (Barbara 156-164). It is an element in use in under drawings of inglaze and overglaze designs. Qasim's recipe, on the other hand, includes frit and muzzard, which reflect a change in technique from previous designs. These designs are a result of other forms of ingredients in enamels. Red enamels are in almost all "minai" vessels.

These vessels coloration uses hematite. The property of the element is a red pigment also coined "Buhari" or "qamsari." Red enamel layers measures approximately twenty-four microns, contains quartz, and pigments within a glassy platform. To produce highly saturated red colors hematite, it requires two microns measurement. However, in practice the amount of red incorporated in over glazed red enamels were lower than other colors. The difficulty in balancing the properties of raw materials would result in inhomogeneous or poorly joined elements of the enamel.

Another form used in the interior and the exterior of ceramics had cobalt properties. The pigment was much valued during the period of Seljuk for its beauty and rarity (Barbara 156-164). Qasim also refer to the blue color on enamels. During the period, the blue color pigment also known as "Sulaimani" illustrated the interior as well as the exterior of the bowls. Recipes for the blue color depended on the amount of cobalt use on the decoration.

The blue colors on the enamel represent a low level of less than two percent. Cobalt on the other hand, appears to be the deep blue stain that appears below the surface of the gaze. The presence of discrete glassy blue stains indicates that the cobalt was a result of the frit process. Fritting has many advantages for highly soluble pigments the process discourages bleeding thus produce more elements that are homogeneous. The process further suggests high melting points with low levels of lead observed in the glazes (Barbara 156-164).

Discussion of Narrative Scenes Illustration of the two scenes This representation of the two scenes clearly shows a hunting expedition involving Bahram and his favorite concubine Azad. From the exterior part of the bowl, a reader identifies the image of man presumably Bahram on the back of a camel. With him is a woman; Azad. Infront of the camel is a gazelle hit by an arrow and below the camel is Azad. At the back of the mounted camel is a depiction of man.

This is a representation of a scene where Bahram successfully hits a gazelle but the woman at the back angers him thus she is felled. The significance of Bahram and Azad representation occurs on three depictions of the story on enamel. During this period, story narration was on the interior and the exterior of ceramics. Illustration of the two scenes of Bhram Gur and Azada is a design depicted on the exterior of a bowl. As 12-13th, century design depicts a story in the shahnama.

The manuscript depicts an episode of price Bahram Gur hunting with his concubine Azada. In this scene, Azada challenges his lover to a hunting episode. During hunting, Gur succeeds to kill a gazelle, but Azada pities the slain gazelle and reproaches Gur. His response is to trample her under the camel in anger (Richard 25-31). The artist has integrated two-different moment in one scene on the ceramic. There is a scene with relevance to the Iranian culture. The action shows a dramatic episode.

From those scenes, one begins to understand the culture of medieval Persian. It is evident the position a woman held at the period. It is also clear that the mode of transport was a Camel. Since we see Bahram with a concubine while hunting, it is clear that hunting was an exclusive sport for people. These discoveries of Islamic ceramic suggest that there was the existence of other narratives on ceramic goblets during the Persian epic.

This was the only mode of communication to have been in existence of the period. These shows that artist at that period, had learnt how to portray emotions on surfaces of bowls. Since bowls were in use in homes, it covered a wide audience. Now it is possible to identify stories on ceramic depicted during the period. Such proposals suggest that goblets and bowls scenes of 13th century.

Porters of "minai" works developed narrative scenes, which have close relationships to understanding book illustrations during a period when nothing survived (Dylan 9-11). The Islamic art, as well as that of Iran is a form of visual arts. These art objects illustrate objects, figures on tiles, tableware, or ceramics. These forms of art are very important in understanding the history of Iran, as well as that of other culture. During the 12th and the 13th century, potters employed the art of describing scenes on bowls, and other ceramic bases.

These artifacts are a source of knowledge on the history of the people of Iran and the Persian epic. These ceramic art objects seem to be the only evidence of art left from disappearing cultures.