Ferdowsi, a renowned Persian poet, dedicated around thirty years to composing the Shahnameh. This masterpiece is a crucial guardian of the Persian language and Iranian culture. After writing the Shahnameh, it has always been the prevailing choice for illustration and pastiche writing, or Nazireh-nevisi. Nazireh-nevisi, literally meaning “writing poetry in the style of a famous poet,” is similar to the English term “Pastiche,” which means “imitating the style of an artist or work.” Book illustrations were created systematically within the royal libraries of Iran. The government had established a central institution to facilitate the production and patronage of art. Artists and poets had to liaise with the royal libraries to document their works. Ferdowsi’s Shahnameh has been depicted numerous times in various Iranian painting schools. Although the production and illustration of the book were very time-consuming and expensive, the rulers of the governments that dominated Iran in the Islamic period ordered the illustration of this book. They commissioned royal poets to create poetry books in the Shahnameh style. This article examines why the Shahnameh has been included in the cultural programs of various governments.
The authors of this article seek to explain the reasons for the selection of Shahnameh for illustration and pastiche writing in different governments, using Michel Foucault’s theories of “Power.” The influential French thinker Michel Foucault extensively researched “power” and its societal workings, as well as how “truth” is constructed by power. Foucault’s perspective on power is unique in that he views its scope of influence as incredibly wide-reaching, encompassing everything from small institutions and human relationships to the greatest societal structures. Foucault posits that power is omnipresent and foundational in creating everything. He emphasizes a positive view of power, asserting, “Power produces, power produces truth.” Foucault perceives power as nurturing, productive, and beneficial rather than restrictive or destructive. As a result, it can be inferred that human civilization, along with all its scientific, social, moral, and artistic accomplishments, stems from and is influenced by power. If power couldn’t unite people around shared values and interests, societies wouldn’t have formed. Without society, civilization wouldn’t have flourished, and without civilization, discussing scientific, cultural, and artistic achievements would essentially be meaningless. The research results indicate that the Shahnameh text emphasizes specific values, offering significant opportunities to expand hegemony and validate power. Throughout history, those in power have utilized cultural potential to legitimize their authority. During this process, beliefs that support the legitimacy of the ruling power are chosen and accentuated from various aspects of society and culture. Contrarily, beliefs lacking these characteristics are marginalized and disregarded. The process described is observable in the illustrations and pastiche writings of Shahnameh during the Islamic royal dynasties of Iran.
The beliefs such as the “confirmation of Farrah Izadi” (believing that the King is chosen and supported by God), the necessity of obeying the King, and confirming the centralized government are evident in the text of the Shahnameh. These beliefs provided significant opportunities for expanding the dominion and legitimizing the monarchy. It appears that the Islamic sultans in Iran during that period supported the Shahnameh to create the illusion that their monarchy was a direct continuation of the ancient Iranian kingdom, gaining cultural legitimacy. Less than a hundred years ago, during the modernization of Iran, thinkers suggested that the government could use the Shahnameh to instill a sense of national pride for political purposes. As a result, the government organized a large ceremony to honor Ferdowsi, aiming to spark interest in the ancient values of Iran and the Persian language.