Bijan killing the wild boars of Irman, from a Shah-nama (Book of Kings) of Firdausi (Persian, about 934–1020) (verso)

Rendered with delicate brushwork, the miniature employs a restrained palette of earthy reds, muted greens, and soft blues, punctuated by gold highlights that accentuate the sun and ornamental details. The composition balances figure and landscape, while the black ink border frames the scene with calligraphic precision.

Created for a patron named Prince Salim, the piece reflects the courtly patronage typical of the period. Although the Shah‑nama was compiled between the 10th and 11th centuries, the illustration itself dates from a later manuscript tradition that continued to copy and embellish the epic.

Miniature painting was a central art form in Persian manuscript production, serving both decorative and didactic functions. This work exemplifies the integration of visual and literary arts, where illustrated scenes complemented the poetic text to enhance the viewer’s engagement with the story.

The painting is part of a collection that illustrates the enduring influence of the Shah‑nama on Persian visual culture. Its preservation in a major museum collection allows contemporary audiences to study the interplay of narrative, calligraphy, and miniature painting that defined medieval Persian artistic practice.