A Critical Reading of Visual Representation of the "Chaldiran Battle" on the Isfahan's Chihilsutun Palace

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Abstract

The Chaldiran battle has been represented in the form of written and visual texts. One of the most well-known of these representations is the Frescoes that were drowning on the Chehelsoton palace at 1210 AH -The year of coronation of Agha Mohammad Khan-. Qajar used of reproduce this story in order to legitimize their rule and consolidate their newly power. But earlier, this battle that was followed by a heavy defeat for Iran, at the Safavid period had become a symbol of national pride. In this research aims to understand the process of turning a failure to the national honor, many examples of Chaldiran's narrations from Qajar era to the nearest narrative of date in 920 AD, followed and studied. Finally, we will see, Qajar in reproduction this narration, confiscation a concept that the Safavid before it was constructed and spread among people.

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References

Babaie,sussan,1994, Shah Abbas II, the conquest of Qandahar, the Chihil sutun, and its wall paintings, muqarnas XI: An Annual on Islamic Art and Architecture,No:11;125-142.
Diba,layla s.& Ekhtiar, Maryam& Robinson, B.W. (Basil William),1998, Royal Persian paintings, The Qajar Epoch 1785- 1925, Brooklyn Museum of Art.
Habbly.G & Melville.C, 1991, The Cambridge History of Iran, Volume 7,From Nader Shah to Islamic Republic, edited by P.Avery, Cambridge university press, New York. 
نجفی یزدی، سید محمد، بی­تا، شگفتی‏های امیرالمومنین(علیه السلام)
تاریخ بازدید: 12/7/94        ‏http://www.ghadeer.org/Book/821/123918
 
 
 
 
 
 
 
Ideological Function of Visual Representation of the "Chaldiran Battle" on the Isfahan Chihil sutun Palace
Historical Studies
Volume 9, Issue 1
October 2018
Pages 65-85

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