Illustration to a poem by Firdausi 'Shahnameh' 1934

Curator: This intricate pen and ink drawing, executed on paper by Martiros Sarian in 1934, is an illustration to a poem from Firdausi's "Shahnameh". Editor: My first impression is of deliberate simplicity; a scene rendered with striking, economical lines. There's a rawness that feels immediate, a tangible quality in the pen work itself. Curator: It captures a key element within the 'Shahnameh' a celebration of Iranian identity and culture. Sarian engages with complex power dynamics and nationalistic aspirations present within the source text, which continues to be an important source for artistic creation in countries like Iran, Tajikistan, and Afghanistan. The choice of stark black and white evokes a historical dimension that links back to Persian illuminated manuscripts. Editor: Focusing on the materials and process, it seems almost like the ink is being scratched across the surface, yielding forms, rather than simply being laid down. We can appreciate the work that went into sourcing these particular materials, and the artistry necessary for translating textual stories of nationalism and identity onto a visual space through simple and accessible supplies. The texture the pen creates on paper really does something special here. Curator: Absolutely. Consider the narrative weight the "Shahnameh" carries as a foundation of Persian language and cultural identity, the implications of illustration are more than meets the eye. It’s no mere battle scene; Sarian situates this conflict within the grander intersectional narratives of cultural heritage, resistance, and even the gendered roles ascribed to heroes and villains within such epic poems. The very act of illustrating can be seen as a commentary of access and privilege. Editor: It all leads back to production, doesn't it? The labor of illustration as a historical, class-based process for disseminating a specific national message that also is the core element that shapes Sarian's chosen mediums and stylistic simplicity. Thinking about accessibility also allows us to view a material that would initially seem basic, like ink, in a very innovative and thought-provoking manner. Curator: Exactly, which helps us look into contemporary theory while gaining further understanding about Sarian's art. Editor: In a similar vein, I see the artwork's essence tied closely to material choices— the simple black ink producing strong, affecting silhouettes, like that of a familiar historical shadow. Curator: Considering the period it was created in and its engagement with culture, Sarian has a way of using visual vocabulary to tackle societal commentary and historical interpretation through an intersectional lens. Editor: And he accomplished a grand feat within material limitations, making even an illustration feel monumental.