Adam and Eve Driven From Paradise

 

The time is 1550, and we are in the early Safawi/Safafid period of Iran. The illustration is from a larger format manuscript, which is almost unheard of; it is about 24 inches by 31 inches. The manuscript is The Falnameh or “Book of Divination/Omens”. Scenes such as this Adam and Eve piece are placed side by side with calligraphic text forecasting the future of those that seek its knowledge. (Grabar) It is unknown who the artist is or what religious value that the illustration might hold for him or its viewers. There is some calligraphy under the dragon’s right foot but it is unknown if this is the actual artist signature. It could be that of the owner, library clerk or an imposter. (Binyon) The concept of the images could be from the artist’s imagination or maybe something that they had seen in their travels from another culture.

 

The Adam and Eve piece is very exquisitely created with bright and vivid use of colors. Adam rides upon a large blue dragon and Eve is riding on a large bird, which could represent a peacock. Adam is pointing towards Eve, could this be perceived, as it was all her fault? As you view deeper into the piece you can see that paradise is lush and green. Assuming that prior to their departure from paradise they ate from the tree of knowledge and gained certain wisdom due to two things in the image. First they are wearing clothing made from leaves covering their nakedness and second, the flames coming from their heads. This to me represents that they have a learned knowledge that was forbidden to them from God. Along with the couple in paradise are a man driving them from the garden and another elder man, which could represent the devil himself. He has his forefinger to his mouth; this represents a gesture of surprise. (Garbar) The top and bottom of the illustration each have rows of angels watching as Adam and Eve are being driven out. Some of the Angels seem to be discussing the matter and others watch in amazement.  I am unsure if the background colors behind the angels have any influence over the illustration. The top rows of angels are surrounded in a golden color whereas the lower row is a pink/red tone. Could this represent heaven and hell? Everyone but Adam and Eve is wearing intricately designed clothing. Many of the female angels have pearls in their hair and their male counterparts have pearls coming down from their headdresses. This could represent the rewards of heaven.

 

Of course the two main characters draw your view straight to the center of the illustration for emphasis. With Adam and Eve being larger then the rest of the people making them the most important part of the piece. The creatures they ride appear fierce but are beautifully decorated. The two other figures in the center area take your eyes around in a backwards “S” shape and lastly you view the angels surrounding them. The use of primarily yellow/gold, blue and red is prominent. Then the addition of green for paradise, filled with simple floral motifs. There are several organic and some geometric patterns repeated throughout the piece. The repetition of shapes gives the illustration a lot of texture.   All the subjects appear very animated which gives the image action and excitement.

 

I am intrigued by the use of all of the excitement contained within, which is why I chose this illustration. The images have been the subject of hundreds of pieces of art throughout the centuries. The color usage, which is basically the primary color palette, lends to a cohesive piece of work.  My favorite part of the piece is the magical creatures that Adam and Eve ride upon. Next I love how the angels are portrayed. The expressions on their faces, their dress and the beauty of their wings brings me peace.

 

Adam and Eve Driven from Paradise is located at the Smithsonian Institution in Washington DC. Located in the Freer Gallery and the Arthur Sackler Gallery and was purchased from the Henri Vever collection. The illustration represents a popular devotion of the sixteenth century artist. The use of their imagination and talents gives the viewers of then and now great pleasure and admiration. I am positive that the text, which accompanies this illustration, lends an even more powerful presence in those who perceive it.

 

 close up of angels

 

 

 

Works Cited

 

Grabar, Oleg. “Masterpieces of Islamic Art, The Decorated Page from the 8^th to the 17^th Century”. New York: Prestel 2009. Print

 

Binyon, Laurence. Wilkinson, J.V.S. Gray, Basil. “Persian Miniature Painting”. New York: Dover Publications 1971. Print