مرکز منطقه ای اطلاع رسانی علوم و فناوری پژوهش زبان و ادبیات فارسی 1735-1030 23 79 2026 9 23 A Study and Analysis of Black Color Manifestations in Siavash Story in Shahnameh بررسی و تحلیل نمودهای رنگ سیاه در داستان سیاوشِ شاهنامه 1 29 fa مرتضی مصفا دانشگاه سمنان علی محمد شاه سنی دانشگاه سمنان 2025 9 22 A Study and Analysis of Black Color Manifestations in Siavash Story in Shahnameh   Morteza Mosaffa<a href="#_ftn1" name="_ftnref1">*</a> Ali-Mohammad Shah-Sani<a href="#_ftn2" name="_ftnref2">**</a>   Color is one of the most effective tools of literary and artistic creation. The application of color is shaped according to the structure and theme of the stories in the Shahnameh. The story of Siavash in the Shahnameh is one of these stories that is constructed and narrated in this way. The black color in this story is narrated and expressed in accordance with the narrative flow of the story and the mythic theme that is discussed in it. However, the black color in this story has functions that represent dual aspects, meaning that sometimes it reflects a good and positive concept and sometimes it represents a negative image, and this is a matter of reflection as to what cultural and mythical beliefs and thoughts such an attitude arises from. Accordingly, the aim of this paper is to analyse the cultural and mythological roots of the color black function in this story, and the most important question of the present research is what attitudes the cultural and mythological roots of the positive and negative aspects of this color in this story arise from in the scope of Iranian and Islamic culture, which will be addressed with a descriptive-analytical method and based on library studies (documentation). The most important hypothesis that is raised in response to this question is that the contrasting manifestations of the color black in Siavash's story were influenced by the breadth of Ferdowsi's intellectual and cultural sphere and also arose from the diversity of thoughts and ideas of the diverse Iranian and non-Iranian ethnic groups. In brief, the results of the research indicate that although the color black generally has a negative and ominous manifestation in the mythology and culture of nations, in the Shahnameh, and especially the story of Siavash, it sometimes has a good and blessed manifestation under the influence of different ideas and beliefs that existed in the Iranian civilization. The color black in this story is in line with the Iranian dualistic worldview, carrying a positive and negative duality, but what is evident in this story is the dominant thought of the Aryan worldview, which did not like darkness and blackness and considered them evil under Zoroastrian teachings.   Keywords: Shahnameh, Ferdowsi, Black Color, Myth, Siavash.   <ol style="text-align: left;"> <li>Introduction </li> </ol> Great literary masterpieces are composed of elements that, within their specific context and structure, contribute to the overall coherence and unity of the work. The enduring majesty of such works lies in the harmonious integration of these minute elements within a broader systemic framework. In this regard, Ferdowsi's Shahnameh stands as a foundational work, characterized by meticulous precision in the employment of poetic techniques and subtleties. One of the primary elements manifesting in the imaginative and emotional fabric of Ferdowsi's poetic language is the element of "color." Ferdowsi exhibited a profound attention to this multifaceted component, more so than his contemporaries, and his sophisticated use of color is a primary reason for the vividness and sensory impact of his imagery. In Ferdowsi's poetry, color transcends mere material description, acquiring a perceptible and emotional expressive power that extends from the physical realm to spiritual dimensions. He deliberately employs the dramatic, theatrical, and symbolic aspects of color within his poetic discourse. During the era of the Shahnameh's composition, poets were exceptionally precise in their use of color within imagery, ensuring that every entity or phenomenon was rendered with a specific hue to establish a vivid connection between life and nature. Within this framework, light and darkness as fundamental aspects of color play a critical role in creating the "chiaroscuro" (light and shadow) effect of the imagery. As a master of the Khorasani style, Ferdowsi demonstrated a particular devotion to landscape painting and realism, utilizing color to make abstract concepts perceptible. In the various narratives of the Shahnameh, the application of color is shaped by the structure and thematic core of the story. The narrative of Siyavash is one such instance where the color black is deployed in accordance with the narrative arc and mythological motifs. A compelling aspect of this story is that the color black exhibits a dualistic function; it simultaneously reflects positive, auspicious meanings and negative, ominous images. Consequently, the primary question of this research is: In which elements and characters of Siyavash's story does the color black manifest, and from what cultural and mythological perspectives in the broader Iranian and Islamic tradition do these contradictory positive and negative connotations derive?   <ol style="text-align: left;" start="3"> <li> Theoretical Framework and Methodology</li> </ol> Color resides within the realm of human perception and visual sensory input. In literary and artistic dimensions, color serves as a vital tool for imagery, particularly in the Khorasani style, which is grounded in naturalism and a sensory engagement with the surrounding world. In this style, colors are employed both in their literal material sense and through metaphorical and rhetorical structures. This research adopts a descriptive-analytical method based on library research. The theoretical premise of the study is that the contradictory manifestations of the color black in the story of Siyavash are influenced by the breadth of Ferdowsi's intellectual horizon and the diverse thoughts of Iranian and non-Iranian peoples. In this context, the color black is analyzed as a symbol that conveys opposing meanings depending on the narrative context.   <ol style="text-align: left;" start="4"> <li> Key Findings and Analysis of the Five Axes of Black</li> </ol> The analysis of the prominent manifestations of the color black in the story of Siyavash is conducted across five primary axes, each representing a different facet of semantic contradiction: First: The Name of Siyavash and Mythological Roots; The color black first appears in the name of the protagonist. Siyavash appears in Afrasiyab's dream as a "black-clad rider." In mythological analysis, two perspectives exist: the Mesopotamian narrative reduces this black-clad appearance to ritualistic customs (applying black pigment to the face), symbolizing the return of a deity from the underworld. However, the Transoxiana (Fararud) narrative, which aligns more closely with the Shahnameh, suggests that Siyavash was originally a "totem" in the form of a black horse, which evolved into the image of a rider (king) as human societies developed. This indicates that the blackness in Siyavash's name is rooted in ancient totemic beliefs, embodying a sense of authenticity and return. *Second: Geography and the Land of Turan; In the description of Turan, the color black manifests as "darkness." Turan, located to the north of Iran, was perceived by Aryan peoples as the direction of the North (Apakhtar) the abode of darkness and the damned. Here, the color black is a symbol of misfortune and malignancy. This darkness is also embodied in the character of Afrasiyab, whose appearance and conduct are depicted as dark and black, akin to demons and Ahrimanic entities. In this axis, black is entirely linked to negative and demonic concepts. Third: Shabrang (The Black Horse); The black horse of Siyavash represents another positive manifestation of the color black. The visual and semantic similarities between Shabrang and Siyavash reflect the same ancient Transoxiana rituals. The human-like nobility and loyalty of Shabrang, and his assistance to Siyavash and Key Khosrow in critical situations, demonstrate that the color black here transcends ominous meanings, becoming a symbol of auspiciousness, loyalty, and power. Fourth: The Racial Mark of the Kiyani Kings; The presence of a black mark on the bodies of the Kiyani kings (inherited from Key Qobad) serves as a direct sign of distinction, royal power, and genealogical authenticity. In this instance, black is no longer a symbol of darkness but serves as a "racial code," representing a positive and legitimizing facet of royal lineage.   Fifth: The Tradition of Black-wearing in Mourning; Conversely, wearing black during the loss of loved ones serves a negative function. According to Zoroastrian belief, death is inherently Ahrimanic, and Ahriman belongs to the realm of darkness. Thus, the link between bereavement and the color black in Iranian-Islamic culture is rooted in this belief. In the Shahnameh, when the courtiers of Iran clothe themselves in black upon hearing the news of Siyavash's death, they utilize the color black as a symbol of grief and a connection to the dark realm of death.   <ol style="text-align: left;" start="5"> <li> Conclusion</li> </ol> In conclusion, this research demonstrates that the color black in the story of Siyavash, influenced by the diverse intellectual currents of the Iranian civilization, simultaneously carries dualistic positive and negative connotations. While in the Aryan worldview and Zoroastrian teachings, darkness and blackness were viewed with apprehension due to their association with Ahriman, they nonetheless manifest as auspicious and noble in certain mythological layers (such as the name, the totemic horse, and the royal mark). Therefore, the color black in this narrative is aligned with the Iranian dualistic worldview. Through his poetic mastery, Ferdowsi has successfully captured the tension between ancient mythological beliefs and cultural traditions within the spectrum of the color black, illustrating how a single color can transition from a demonic symbol to a symbol of authenticity depending on its position within the narrative.   References Aghazadeh, Razieh (2019) A Study of the Epic and Non-Epic Use of Color Words in Shahnameh, Journal of New Research in Humanities, Issue 23, pp. 137-154. Amouzgar, Jhaleh (2008) Language, Culture, Mythology, Tehran: Moein. Ibn Babawayh, M. b. A. (2006) Man la yahduruhu al-faqih. Translated by S. S. Balaghi. 1st ed. Tehran: Dar al-Kutub al-Islamiyyah. Esfahani, H. (1967) The History of Prophets and Kings (Tarikh-e Payambaran va Shahan). Ed. J. Shoar. Tehran: Bonyad-e Farhang-e Iran. Akbari Mafakher, A. (2009) “Siavash, the Black-Clad”. Pazh Journal, Issue 7, pp. 51–58. Al-Gurin, W., et al. (1991) Guide to Approaches in Literary Criticism. Translated by Z. Mahinkhah. 1st ed. Tehran: Ettela’at Publishing. Bal’ami, M. b. M. (1997) A Selection of Bal’ami History (Gozideh-ye Tarikh-e Bal’ami). Ed. R. Anzabi-Nejad. 7th ed. Tehran: Amir Kabir. Bahar, M. T. (Editor) (2010) The History of Sistan (Tarikh-e Sistan) (by an unknown author). 2nd ed. Tehran: Asatir. Bahar, M. (1997) A Study of Iranian Myths. 2nd ed. Tehran: Agah. ------- (1998) From Myth to History. 2nd ed. Tehran: Cheshmeh. Beyzaei, B. (2008) Theatre in Iran. 6th ed. Tehran: Roshangaran va Motale’at-e Zanan. Bayhaqi, A. (2004) Tarikh-i Bayhaqi. Ed. K. Khatib Rahbar. Vol. 1, 9th ed. Tehran: Mahtab. Pourdavoud, Ebrahim (1998), Yashta (Volume 1), Part 1, Tehran: Asatir. Jafari Dehghi, M., & Saleh, M. (2015) “Death and the Fate of the Soul in the Beliefs of the Ancient Mesopotamians”. Religions Research Journal, 9(17), pp. 55–74. https://dorl.net/dor/20.1001.1.20080476.1394.9.1.2.0 Jalili, Zahra; Abdullah Vathiq Abbasi and Mohammad Amir Mashhadi 2022, From the Myth of Fer to Cosmic Energy in Ferdowsi's Shahnameh, Persian Literature, Volume 12, Issue 2, Serial 10.22059/jpl.2022.346885.2085.163-185, 30. (DOI): <a href="https://doi.org/10.22059/jpl.2022.346885.2085">10.22059/JPL.2022.346885.2085</a> Joudi Ne’mati, A. (2008) “Color Harmony in Imagery and Narrative Core of Shahnameh”. Bi-Quarterly Journal of Persian Language and Literature Research, 11, pp. 57–82. Hasanli, K. & Ahmadian, L. (2007) “The Function of Color in Ferdowsi’s Shahnameh (with Emphasis on Black and White)”. Literature Study Journal, 1(2), pp. 145–165. https://dor.isc.ac/dor/20.1001.1.17358027.1386.1.2.5.4 Hosouri, A. (2008) Siavashan. 3rd ed. Tehran: Cheshmeh. Hamidian, S. (1993) An Introduction to Ferdowsi’s Thought and Art. 2nd ed. Tehran: Nahid. Heydari, Gh. (2019) “Literary and Rhetorical Language of Color in Nonverbal Communication in Ferdowsi’s Shahnameh”. Quarterly Journal of Literary Aesthetics, 17(39), pp. 189–229. Khorshid Sileh, Hooman and Gholam Reza Danesh-Pajouh (2015), The Element of Color and Imagination in Ferdowsi's Shahnameh, National Conference on Future Studies and Development, pp. 1-20. Khayyam Neyshabouri, O. b. E. (1978) Nowruznameh. Ed. A. Hosouri. 2nd ed. Tehran: Tahouri. Darpar, M. (2007) “A Comparison of Shabrang and Pegasus”. Persian Literature Journal, Islamic Azad University of Mashhad, Issue 14, pp. 180–193. Rudaki Samarqandi, A. B. M. (1994) Rudaki’s Divan. Edited by J. Mansour. 2nd ed. Tehran: Doustan. Rouyani, V., & Hatami-Nejad, M. (2015) “Siavash and the Myth of Eternal Return”. Journal of Mystical Literature and Mythology, 11(40), pp. 239–261. https://dorl.net/dor/20.1001.1.20084420.1394.11.40.8.0. Saadi, Mosleh al-Din (2010), Works Generaliities, edited by Mohammad Ali Foroughi, Vol. 15, Tehran: Amir Kabir. Siah-Poush, M. T. (1975) “The Symbolism of the Color Black”. Yaghma Magazine, 327, pp. 546–553. Shafiei Kadkani, M. R. (1996) Imagery in Persian Poetry. 6th ed. Tehran: Agah. Schimmel, A. M. (2003) “The Values of Color in Iranian Art and Literature”. Nameh-ye Anjoman Journal, Issue 1, pp. 40–58. Zabeti Jahromi, A. (1999) Cinema and the Structure of Poetic Images in the Shahnameh. 1st ed. Tehran: Ketab-e Fara. Farrokhi Sistani. (1998) Selected Poems. Edited by M. Dabir-Siyaghi. 3rd ed. Tehran: Sokhan. Ferdowsi, A. (2015) Shahnameh. Edited by J. Khaleghi Motlagh. Tehran: Sokhan. Farzan, N. (1996) Color and Nature: A Part of the Knowledge of Colors. 1st ed. Tehran. Fazayeli, S. (2009) Shabrang Behzad. 1st ed. Tehran: Jeyhoun. Fazilat, F. (2002) Denkard (Editing and transliteration of notes and translations based on Madan’s Edition). 1st ed. Tehran: Dehkhoda. Ghaemi, F. (2013) “From Riphwin to Siavash: A Mythological Analysis of Ritual Structure in the Story of Siavash Based on the pattern of the descent of the god Riphuvin and the annual rituals of death and rebirth in Iranian culture”. Quarterly Journal of Modern Literary Essays, Ferdowsi University of Mashhad, Issue 182, pp. 61–86. https://doi.org/10.22067/jls.v46i4.25298 Kazazi, Mirjalal al-Din (1989), Of Another Type (Essays in Iranian Culture and Literature), Vol. 1, Tehran: Markaz Publishing House. Cooper, J. C. (2007) An Illustrated Encyclopedia of Traditional Symbols. Trans. M. Karbasian. 2nd ed. Tehran: New Publication. Mostowfi, H. (1985) Selected History (Tarikh-e Gozideh). Edited by A. Navaei. Tehran: Amir Kabir. Moein, M. (1956) Zoroastrianism and Persian Literature. Tehran: University of Tehran. Momen, Mohsen (2017) A Look at Coloring of Epic Scenes in Shahnameh, Third National Conference on the Third Millennium and Humanities (Payam Nour University), pp. 1-11. Narshakhi, A. M. b. J. (n.d.). Tarikh-e Bukhara. Edited by Modarres Razavi. Tehran: Sanaei. Nasr, S. H. (1996) Islamic Art and Spirituality. Translated by R. Ghasemian. 1st ed. Tehran: Office of Religious Studies of Art. Vahed Doust, M. (2000) Mythological Institutions in Ferdowsi’s Shahnameh. 1st ed. Tehran: Soroush. Hashemi, S. M., & Hoseyni Golkar, M. (2015) “The Cinematic Function of Color in Shahnameh”. Proceedings of the 8th Conference on Persian Language and Literature Research. Houshmand, R. (2018) A Comparison of the Use of Color in Classical and Contemporary Persian Poetry. 1st ed. Tehran.     <a href="#_ftnref1" name="_ftn1">*</a> PhD Student in Persian Language and Literature, Faculty of Persian Literature and Foreign Languages, Semnan University, Semnan, Iran. m_mosaffa@semnan.ac.ir                                   https://orcid.org/0009-0006-2000-2726 <a href="#_ftnref2" name="_ftn2">**</a> Corresponding Author: Assistant Professor, Department of Persian Language and Literature, Faculty of Persian Literature and Foreign Languages, Semnan University, Semnan, Iran. a_shahsani@semnan.ac.ir https://orcid.org/0009-0008-3095-4426 یکی از مؤثرترین ابزارهای آفرینش ادبی- هنری، رنگ است. در داستانهای شاهنامه، کاربرد رنگ با توجه به ساختار و درون&zwnj;مایة داستان شکل میگیرد. داستان سیاوش در شاهنامه، یکی از این داستانهایی است که به همین گونه کارسازی و روایت شده است. رنگ سیاه در این داستان مطابق با سیر روایی داستان و مضمون اسطورهای که در آن مطرح است، روایت و بیان شده است. با وجود این رنگ سیاه در این داستان، کارکردهایی دارد که ابعادی دوگانه را نمایش میدهد؛ بدین &zwnj;معنی که گاهی مفهوم نیک و مثبت را بازتاب میدهد و گاه تصویری منفی را بازمینمایاند و این خود محل تأمل است که چنین نگرشی برخاسته از چه باور و اندیشه&zwnj;های فرهنگی و اسطورهای است. بر این اساس هدف این مقاله، واکاوی ریشههای فرهنگی و اساطیری کارکرد رنگ سیاه در این داستان است و مهم&zwnj;ترین پرسش پژوهش حاضر این است که ریشه&zwnj;های فرهنگی و اسطورهای بعد مثبت و منفی این رنگ در این داستان، ناشی از چه نگرش&zwnj;هایی در گستره فرهنگ ایرانی و اسلامی میشود که با روشی توصیفی- تحلیلی و بر &zwnj;پایه مطالعات کتابخانهای بدان پرداخته خواهد شد. مهمترین فرضی که در برابر این سؤال مطرح میشود آن است که جلوههای متضاد رنگ سیاه در داستان سیاوش، متأثر از گستردگی حوزه فکری و فرهنگی فردوسی و همچنین برخاسته از تنوع افکار و اندیشه&zwnj;های متکثر اقوام ایرانی و انیرانی بوده است. اجمالاً نتایج پژوهش نشان میدهد که رنگ سیاه هرچند عموماً در اساطیر و فرهنگ ملل، نمودی منفی و شوم دارد، در شاهنامه و به&zwnj;ویژه داستان سیاوش تحت &zwnj;تأثیر اندیشه و باورهای متفاوتی که در پهنه تمدن ایرانی وجود داشته است، گاهی نمودی نیک و خجسته یافته است. رنگ سیاه در این داستان همراستا با جهان&zwnj;بینی ثنوی ایرانی حامل دوگانهای مثبت و منفی است. ولی آنچه بیشتر در این داستان آشکار است، همان فکر مسلط جهان&zwnj;بینی آریایی است که تیرگی و سیاهی را خوش نمیداشتند و تحت تعالیم آموزههای زردتشتی، آن را اهریمنی می&zwnj;دانستند.

http://literature.ihss.ac.ir/ar/Article/Download/51561