Rustam Killing The White Div (1560-1580 CE)

This vividly illustrated leaf from a manuscript of Firdausi’s Shahnameh, created in Persia’s Shiraz during the Safavid period (circa 1560–1580), captures one of the most iconic scenes of the Persian epic: the hero Rustam slaying the White Div. Rendered in gouache with gold on paper, this miniature painting, measuring 25.5 × 20.6 cm (10 × 8.1 inches), depicts a dramatic confrontation set against a dark, hell-like cave framed by jagged rocks. The vivid colors, stylized figures, and intricate nasta‘liq script draw the viewer into the legendary battle, offering a glimpse into the rich artistic and cultural heritage of Safavid Persia.

The artwork originates from a Shahnameh manuscript produced during the Safavid dynasty (1501–1736), a golden era for Persian miniature art. Firdausi’s Shahnameh, or “Book of Kings,” written around 940–1020 CE, is Persia’s national epic, preserving pre-Islamic Iranian myths and history. This particular illustration, created in Shiraz, a major center for manuscript production, reflects the Safavid era’s emphasis on cultural identity and artistic excellence. The scene depicts Rustam’s seventh labor in the “Haft Khan-e Rostam” (Seven Labors of Rustam), where he defeats the White Div to save King Kay Kaus. 

The story of Rustam and the White Div has inspired countless retellings, from Persian theater to modern Iranian animations and even tattoo designs symbolizing courage. The Safavid artists of Shiraz were known for working in ateliers, producing illustrated manuscripts in large numbers, often under tight deadlines for royal patrons. One can imagine the meticulous labor of a Shiraz artist, blending gold and gouache under candlelight to bring this mythic battle to life. The scene’s popularity is evident in its frequent depiction across centuries, with variations found in Timurid and Mongol-influenced manuscripts.

The Shahnameh itself was a deliberate effort by Firdausi to preserve Iranian identity against Arab-Islamic cultural dominance, and under the Safavids, it became a symbol of Shia Muslim and pre-Islamic heritage. The scene of Rustam killing the White Div embodies Zoroastrian dualism—good (Ahura Mazda) versus evil (Ahriman)—with Rustam as the heroic defender of order against the chaotic demon. Artistically, the painting exemplifies the Shiraz school’s style: vibrant colors (gold, red, blue, black), stylized figures with exaggerated proportions, and a dramatic composition inherited from the Timurid period. The cave, tiger-skin-clad Rustam, and the white demon are recurring motifs in Shahnameh illustrations, making this scene instantly recognizable.

The artwork is a gouache painting with gold accents on paper, a hallmark of Safavid miniature art. The painting measures 25.5 × 20.6 cm (10 × 8.1 inches), while the entire leaf, including text, measures 29.4 × 23.2 cm (11.6 × 9.1 inches). The text, written in elegant nasta‘liq script in black ink, appears in five columns above and below the miniature, with some lines written diagonally for aesthetic effect. The paper is gold-sprinkled, enhancing its luxurious appearance. The reverse features a full page of text with an illuminated heading in white nasta‘liq, titled “Kashtan-e Rustam-e Div-e Safid ra” (“Rustam Kills the White Div”). The composition adheres to Shiraz’s 16th-century style, with a circular arrangement of jagged rocks framing the dark cave, vivid colors, and stylized figures that emphasize the mythological drama.

The provenance of this specific leaf is not fully documented, but it likely originated from a Safavid-era Shahnameh manuscript produced in Shiraz for a wealthy patron or royal court. Shiraz was a hub for manuscript production, and such works were often commissioned by the Safavid elite. This leaf, part of a dispersed manuscript, surfaced in the art market and was auctioned by Sotheby’s in 2024, reflecting the high demand for Safavid miniatures. Its current location is unknown, as is typical for auctioned works, but it may reside in a private collection or museum.