The Seven Martyrs by Ivan Lloyd

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"This is an exclusive offer available only through Treasures of Wonderment." SEVEN MARTYRS OF TEHRAN, 1850 19 signed limited edition prints of this painting "The Seven Martyrs of Tehran"  measuring 18"X24" exclusively for Treasures of Wonderment. This is a first come first served offer and historically the lower the number the more valuable the print. Be the first to own this magnificent work of art  by ordering your print today. Each print cost $119 includes shipping and handling.  Read the full story of this beautiful painting.

"Throughout history the Seven Martyrs of any Faith have always had a mystical significance.

Fifteen years ago I was approached by Mrs. William Sears, a beloved member of the Bahá'í Faith and one  of the founders of the Desert Rose Bahá'í  Institute   to document the Heroic age of the Bahá'í  Faith ( Historians refer to this period as the era marked by the declaration of the Bab through to the passing of Abdu'l- Baha.)  Working in close collaboration directly with the Universal House of Justice in Haifa and help from the Literature review office of the United States in Wilmette, I agreed to paint 19 paintings in the series, thinking the commission would only take me a few months to a year to complete. Now for my swan song  I wanted the Seven Martyrs of Tehran to be the best painting of the historical series and I spent three years of research for this painting alone.

To celebrate the conclusion of this monumental project  I have created  19 signed limited edition prints of this painting "The Seven Martyrs of Tehran"  measuring 18"X24" exclusively for  Treasures of Wonderment. This is a first come first served offer and historically the lower the number the more valuable the print. Be the first to own this magnificent work of art  by ordering your print today."

Painting of the historical series and I spent three years of research for this painting alone.

Tehran Persia 1850 - The Seven Martyrs of Tehran

(On the Day of Judgment, the Seven Goats shall lead the Shepherd) -  Hadith

Set in Tehran, Persia, during the New Year celebration of Naw Ruz in 1850.

The painting reads from right to left.

The scene takes place where the four avenues of the main Bazaar of Tehran meet in the central square opposite the Majid-i-Shah Mosque, shown on the far right.
 
1. Hájí Mírzá Siyyid`Alí, surnamed Khal-i-Azam, the Bab’s maternal uncle, took off his turban and raised his face to heaven saying

“Here me O people I have offered myself up as a willing sacrifice in the path of God.”

The executioner was so moved by these words, he pretended his sword needed to be sharpened, left the scene, and is seen here sharpening his sword on the millstone.

The Grand Vazier Mírzá Taqi Khan was reluctant to behead the Báb’s maternal uncle Hájí Mírzá Said Ali and tried to persuade him to recant , saying that many eminent merchants of Shiraz and Tehran were eager to pay his ransoms and appeals to the Haji to recant his faith.

The Hájí forgives the executioner saying “Other martyrs have quaffed wine why shouldn’t I?” He raised his face to heaven and removes his turban.

2. Mírzá Qurbán-'Ali Barfúrúshí

An important merchant from Barfarush who became a famous mystic and Dervish is dressed in a white cloak known as an Aba the traditional Arab dress from Iraq.

“Hail the day of mutual rejoicing, the day of our reunion with our Beloved.”

The blade of the executioner’s sword falls upon the nape of his kneck and knocks his turban to the ground.

The cruel blow stirred feelings of grief and sympathy from the bystanders.
 
3. Haji Mulla Isma'il Qumi, a native of Farahan, draws a coin from his pocket and gives it to the executioner asking him to purchase something with which he could sweeten his mouth. He took some and offered the rest back to the executioner saying

“Accept me, O my God, unworthy though I be , inscribe my name upon the scrolls of those immortals who have laid down their lives on the alter of sacrifice.”

He was still offering his devotions when the executioner suddenly cut short his prayers.

4. Siyyid Husayn-i-Turshizi, addressed the crowd pleading his innocence when an officer in the service of the Amir Nizam interrupted him saying that he held a death warrant in his hand signed by the main Mujtahid’s of the city. Without warning he drew out his dagger and stabbed the Siyyid in the chest.

(behind him is a Mulla holding aloft one of the signed fatwa’s)

5. Haji Muhammad-i-Taqiy-i-Kirmani was impatient to join his beloved friend Siyyid Husayn  and begged to be executed.

6. Hearing his plea Siyyid Murtada flung himself over the body of Muhammad Taqy and begged to be martyred first.

7. In the midst of the turmoil Muhammad Husayn – I -Maraghi rushed forward and begged to be martyred before his companions saying “Never will I consent to separate myself from my dearly beloved friend. ”Their eagerness to precede each other, in laying down their lives for the Faith, astonished the crowd so the executioner beheaded all three at the same moment.

The image on the far left of the painting shows the shepherd being preceded by seven goats.

Upon hearing the news of their martyrdom the Báb revealed a tablet in their honor and referred to them as those “Seven Goats” referred to in the Hadith (traditions of Islam) who on the Day of Judgment shall “Walk in front of the Promised Qai’m.”

The Báb was martyred a few months later, in Tabriz, fulfilling the Shia prophecy that until then no one had been able to interpret. 

In July 1849 the Russia minister Prince Dolorukov was visiting Násiri'd-Din Sháh and while waiting for an audience was asked to wait in a tent in the palace gardens, from where he heard heavy blows with sticks and cries of terror followed by a rush of people coming from the Sháh’s palace. Shortly afterwards he was escorted to the royal presence by one of the Sháhs chamberlains and his minister, when to his horror he saw some executioners dragging the bodies of eight criminals who had just been strangled in the Sháh’s presence, which apparently was a normal practice during that time of Persian history as public executions were almost unknown.  It was even documented and that some of the Qajar dynasty actually delighted in the practice.

Prince Dolorukov was so disturbed by the scene he could hardly speak but eventually told the Sháh, in a forcible manner, that such a barbaric practice would be regarded by every European with horror and disgust. Such a degrading and revolting custom was not even performed in savage nations and entreated his majesty to abolish it. He then went to Mirza Taqi Khan the Amir Nizam and repeated his objections and wrote a detailed report about the incident  to his government. The prince also related his concerns  to Lt Colonel Farrant of the British Charge d’Affaires who wrote to the British Government. In response  Lord Palmerston  dispatched a letter  on October 5th 1949 from  Her Majesties Government to  the  Persian minister of Foreign affairs requesting the Sháh to abandon such practices adding that no person should be put to death unless he had been convicted in an open and fair public trial.

The Amir Nizam replied that he would endeavor to discontinue the practice gradually, but as it had been an ancient custom of the Kings of Persia, he expressed a fear that the populace might interfere in a public execution and snatch the criminal s from the hands of justice.

On Feb 20th 1850 seven Bábís were publicly martyred under the pretense they were allegedly planning to assassinate the Amir Nizam. The general public was convinced the real reason for their execution was merely for claiming to be followers of the Báb.

Upon receiving the news of the execution of the seven Bábí’s, Lord Palmerston communicated that he was pleased to learn that the Sháh had given up the practice of attending the revolting exhibition of executions but added that the execution of men for religious beliefs was unjust and cruel and also an erroneous practice as it tended to propagate the beliefs it was designed to suppress.

Following the incident public executions became common in Tehran and following the attempted assassination of Násiri'd-Din Sháh, two years later, the city witnessed a bloodbath. It was also the courage and Faith of the Bábí martyrs that excited the interest of the European authors to write about the new religion.

*The Bábí and Bahá'í  Religions by Moojan Momen. Published by George Ronald 1981 Oxford England

Ivan Lloyd's original oil paintings, showcasing Arabian horses, reflect a level of authenticity drawn from many years of living in North Africa, the Middle East and India where he studied the art and culture of the regions. His work has been featured in many prominent Magazines including Arabian Horse World, Equine Images, Horses in Art, The Fine Arts Magazine and Art of the Horse. 

Read our Exclusive Interview with Ivan Lloyd.