New Naqqaliشاهنامه

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WOMEN OF THE SHAHNAMEH / 01

A constellation of women.

Ten books. Eighteen principal figures. Follow the mothers, lovers, warriors, rulers and the nurturing Simorgh whose stories connect across the poem.

01 Constellation Explore the collection02 Narrative landscape Follow the poem03 Conversation mosaic Hear their voices04 Story paths Follow the turns05 Woven genealogy Trace belonging
FOLLOW A THREAD

Gathering the constellation…

THE TEN-BOOK CONSTELLATION
Principal figure · equal size✧Mythic guardianFamilyInteractionStory connection

Select a name, line or book title to explore. Drag a figure gently, or drag the background to pan; use + / − to zoom. Each color marks one of the ten books. Lines are a documented selection; an unconnected figure can still be central to her own story.

THE THREADS BETWEEN THEM

Connections in this view

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A family path can pass through another person. A story connection can join women who never meet. Select a connection to read what it means and the couplets behind it.

BEYOND THE PRINCIPAL CAST

The wider index

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The index lists 50 entries: 49 named women, including the poem’s reference to Fatima, and the nurturing Simorgh. Eight women beyond the principal eighteen already have connections in the constellation; more will follow.

READING THIS CONSTELLATION

A place for each story.

Each book is an island

Each group of figures is one of the ten books. All eighteen principal figures are drawn the same size, and neither where a figure sits nor the weight of her lines ranks her importance. Choose “Add connected women” to show other women linked to them as smaller outlined circles.

Every thread has evidence

Family ties, narrated interactions and connections through another character have different line styles. Each one explains the connection and quotes the couplets behind it, from the New Naqqali translation as published on 22 October 2026. Shared themes or co-mentions alone do not create a line.

Names remain distinct

Homahyi Chehrzad, Bahman’s daughter, is a different woman from Goshtasb’s daughter Homahyi. The nurturing Simorgh is separate from the bird slain by Esfandiyar. Every figure has notes on her other names and who she is.

A growing collection

The wider index also includes women the poem names only briefly. For each woman it lists the couplets that name her; this is not a count of every time she speaks or appears. Unnamed women and groups of women are not yet included.