Institute of Oriental Studies, Tashkent, Uzbekistan.
Location History:
1556: Created in Central Asia, probably within the artistic milieu of Samarkand or Bukhara.
16th–19th centuries: Original ownership and movement of the manuscript remain undocumented.
20th century–present: Preserved at the Abu Rayhan Biruni Institute of Oriental Studies, Tashkent, Uzbekistan.
This miniature painting was created by Muhammad Murad Samarqandi in 1556, as part of an illustrated copy of the Shahnameh (Book of Kings). An epic poem composed by Ferdowsi around 1010 CE. The funeral is that of Iskandar. In Persian literature, Iskandar was a foreign conqueror who then transforms into a wise ruler and philosophical figure. Many depictions of Iskandar focus on conquest and heroism as central themes, whereas this miniature brings your attention to the consequences of power: death and collective mourning. This painting displays groups of mourners with different gestures and postures that show the intensity of their grief. Instead of isolating Iskandar to show him as a hero, he is surrounded with the community that survives and mourns him. This shifts the focus to collective remembrance instead of glory. Iskandar was more than just a ruler, In Persian literature he was a philosopher king, a seeker of knowledge, a fair and just ruler, all of which attaches a moral significance to his funeral. It demonstrates the impermanence and fleeting nature of the lives of even the most powerful figures. The figures lean towards the deceased and raise their hands as an expression of sorrow and gather closely around the bier. This creates a visual rhythm of their grief. Another theme this painting introduces you to is that of fame, success, and worldly authority yielding inevitably to death. What endures is reputation which is then preserved through poetry, memory, and integrity. Muhammad Murad Samarqandi delivers this message through the expressive potential of manuscript painting. The detailed patterns on surfaces, pigments and a carefully organized composition. Made during a time when rulers often had illustrated manuscripts made to assert their authority, this image presents an ideal portrayal of leadership, rooted not just in conquest but also in justice, wisdom and the remembrance of one's actions after death. This painting and the funeral itself serve as both a tribute and also as a moral lesson by encouraging you to reflect on how rulers should be judged and how history chooses to remember them.
This painting displays groups of mourners with different gestures and postures that show the intensity of their grief. Instead of isolating Iskandar to show him as a hero, he is surrounded with the community that survives and mourns him. This shifts the focus to collective remembrance instead of glory. Iskandar was more than just a ruler, In Persian literature he was a philosopher king, a seeker of knowledge, a fair and just ruler, all of which attaches a moral significance to his funeral. It demonstrates the impermanence and fleeting nature of the lives of even the most powerful figures. The figures lean towards the deceased and raise their hands as an expression of sorrow and gather closely around the bier. This creates a visual rhythm of their grief. Another theme this painting introduces you to is that of fame, success, and worldly authority yielding inevitably to death. What endures is reputation which is then preserved through poetry, memory, and integrity. Muhammad Murad Samarqandi delivers this message through the expressive potential of manuscript painting. The detailed patterns on surfaces, pigments and a carefully organized composition.
