The Supernatural is a fundamental feature of Persian and Mughal miniature painting and literature. It plays a dramatic role wherein the strengths and actions of the heroes are set against sorcerers and Divs who live on Mount Qaf with angels and the Simorgh.
Divs are the visual symbols of evil. They are portrayed as vicious and contrary creatures and illustrated as hairy, ugly monsters that inspire little pathos. Of the ten Divs named by attributes in the Shahnameh, two have proper names and the rest are known by color. Div Akvan and Arzhang Div are brothers who, along with the White Div, are the villains of Rostam's most illustrated adventures. Yet, despite their outward appearance, there exists an intriguing duality that belies their repulsive physical attributes and hints at the notion that when Disney sought an image for its noble savage in “Beauty and the Beast,” it chose the Persianate Div.
This paper is a study of the Divs in the Shahnameh and the Mughal Hamzanama. The study begins with the drawings of the artist Siyāh Qalam whose demons were the inspiration for the Safavid and Mughal artists. These central Asian creatures betray an elusive depth of character that is most effectively picked up by the spectacular array of Divs in the work of the Safavid artist Sultan Mohammad. Observed with humor and pathos, his demons amuse and delight; and imbued with an endearing charisma, these colorful personalities display and evoke a range of conflicting emotions. The Divs in the Hamzanama are significantly different. Much larger, noisier and more flamboyant than their Persian cousins, together with armies of sorcerers and giants, they are a formidable presence both in the tales and in the illustrations where they are often the faithful companions of the hero and adhere to a distinct code of honor.
This paper documents the progressive change in style, vision, and taste of patrons and artists towards the depiction of the supernatural. It focuses on the comparison and development of Div iconography in Persian and Mughal painting and epic literature.
It explores the irreverent relationship of the artist with his demons and highlights the ‘zany” side of these complex creatures of evil while affirming their importance and appeal in illustrated manuscripts.
