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Boozari A, Saharvand P. A Comparative Study of Caps in Lithographic Images of Shāhnāmeh 1846 (Bombay) Shāhnāmeh 1849-1851 (Tehran). JIC 2021; 5 (1) : 7
URL: http://jih-tabriziau.ir/article-1-138-en.html

The use of the printing industry in Iran and India caused the cultural and artistic exchanges of these two lands to expand more than before, along with the spread of the Persian language and literature. In this way, the images of lithographed books provided a new visual medium for artists to be able to reflect social developments and changes, in addition to illustrating the glorious texts of Persian literature. The first lithographed edition of Shāh-nāme was published in Bombay in 1262/1846 and only five years later, the images and text of this Shāh-nāme were a model for the publication of the first Shāh-nāme in Tehran in 1267/1850. This work, illustrated by ‘Ali-Qoli Khoiee, an excellent illustrator of the Qajar period, is in many ways similar to India's first edition. However, in many cases, the Iranian artist has tried to reflect the characteristics of his work and the Qajar society in the pictures and to cover the Iranian dress in the Indian pictures. The goal of this research, which is to look at the cap in two lithographed editions of the Shāh-nāme in India and Iran, is to find out what changes ‘Ali-Qoli Khoiee made in the details and form of the caps in his images for the Shāh-nāme compared to the images of the first printed Shāh-nāme in India, and what design innovations he made. The result of this research shows the recognition and enlightenment of the use of caps and the use of their types to distinguish people in different social classes. While the high variety of caps in ‘Ali-Qoli's Shāh-nāme, assemblies and careful drawing of details distinguish ‘Ali-Qoli's work artistically from that the Bombay artist; these images provide a better introduction to the characters in the images. The result of studying and comparing the illustrations of the two lithographed editions of Shāh-nāmeh 1262 /1846 (Bombay) with Shāh-nāmeh 1265-1267/1850 (Tehran) shows a remarkable variety of caps and the illustrator's great attention to drawing the details of the illustrations in Shāh-nāmeh 1265-1267/1850. This research shows the twenty covers that were drawn in the illustrations in Shāh-nāmeh 1262/1846 have been increased to 27 caps in the illustrations of Shāh-nāmeh 1265-1267/1850. Meantime, some of the caps in the Shāh-nāmeh 1262/1846 have been replaced by other caps used in the same version. It seems that the increase, change and transformation of the covers was done for two purposes: first, the new covers are more familiar to the Iranian readers and are derived from the visual tradition of Iranian Shāh-nāmeh or from the Qajar period, which in both cases leads to more tangible images for the readers. On the other hand, this diversity combined with delicacy has made it easier to distinguish differences between characters, ethnicities and social categories in imagesit.