Ruler Enthroned

In addition to the Rustam Cycle in the Blue Hall, the hero Rustam appears in other epics of Penjikent (Ciafaloni and Della Rocca de Candal 2011,117). This particular panel is found in Room 50 of Sector XXIII which contains some of the most ‘legible’ of the Penjikent paintings (Hermitage Amsterdam 2014, 184; Marshak 2002, 109). The murals of the room are believed to have been painted around 740 of the common era. This section is the eighth and final panel of this epic (Marshak 2002, 109-111).

In the episodes preceding this scene, a horseback warrior is following a beautiful girl, who is also on horseback. However, the girl’s horse is being lead by a powerful three-headed demon. The warrior duels the demon on horseback before  eventually wrestling the demon. The warrior defeats the demon and reports to Rustam. There is a march of warriors before the warrior and girl approach the king’s court (Marshak 2002, 109-111). 

This panel is the scene at the king’s court. The king is seated on a gold throne decorated with elephants as structural supports (Hermitage Amsterdam 2014, 184; Marhsak 2002, 116). This king is believed to be Kay-Kavus or Kay Khosrow who were rulers of Rustem in the Shah-nameh. Men and women attending to the court are on either side of the throne, including the warrior and the girl, who are kneeling before the king. Rustam in his leopard-print coat is shown speaking to the king near the warrior and girl who are holding the scabbard of the warrior’s sword. The warrior has placed his trophies, the demon’s armor and helmet, before the king (Marshak 2002, 111 and 116). Seated to the king’s right, there are two figures who appear to be musicians, storytellers, or bards to the king and his court (Hermitage Amsterdam 2014, 184).

Scholars have interpreted this scene to show Rustam giving the girl, who is presumed to be his daughter, in marriage to the warrior hero who rescued her from the demon. The warrior and the girl are holding the sword together and swearing to remain faithful to each other. On the face of the hero on this last panel, there appears to be a word written by a visitor which is believed to be the name of the hero. However, this inscription is barely visible. Although in Iranian tradition there is a separate epic Banu-Gushasp-nameh where there is a marriage of one of Rustam’s two daughters, scholars do not believe this is the same tale because the inscription does not seem to be the same name as the husband and the plots differ (Marshak 2002, 116).

Ciafaloni, Davide and Geri Della Rocca de Candal. 2011. “Sassanian Traditions in Sogdian Paintings: Hunting and Fighting Scenes.” Parthica 13: 112-128. https://www.academia.edu/3386461/Sasanian_traditions_in_Sogdian_paintings_hunting_and_fighting_scenes. 

Hermitage Amsterdam. 2014. Expedition Silk Road: Journey to the West. St. Petersburg: State Hermitage Museum.

Marshak, Boris. 2002. Legends, Tales, and Fables in the Art of Sogdiana. New York: Biblotheca Persica Press.

c. 740

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Panjikent, Sogdiana, Site XXIII-50.

Wall painting

116×141 cm

State Hermitage Museum, St. Petersburg, Russia
Inv. SA–16190

This is the culminating scene in the story of the rescue of a girl abducted by a demon, the subject interpreted by Boris Marshak. Seated in Turkish manner, beneath an arch and on a gold throne with elephant legs, is a ruler or king. In his right hand he holds an axe and he gestures with his left towards a kneeling pair: the young hero and the maiden he has rescued. Before the throne lie trophies – the defeated demon’s armour. Seated on the ground to right of the throne are two figures of lesser size, possibly storytellers, bards or musicians, bringing sweet sounds to the ruler’s ears.

From the Hermitage Panjikent Archaeological Expedition of 1979.

Marshak 2002, pp.109–18