The album of Muḥammad Siyāh Qalam or Siāh-Qalam (; fa, محمد سیاه قَلَم; tr, Mehmed Siyah Kalem) comprise around 80 extant late 14th and early 15th century paintings
folios
The term "folio" (), has three interconnected but distinct meanings in the world of books and printing: first, it is a term for a common method of arranging sheets of paper into book form, folding the sheet only once, and a term for a book ma ...
, ink drawings (''qalam-siāhi''), and calligraphies, on various material, sometimes silk. The albums that contains these paintings, most of which are signed as Mehmet or Muhammad Siyah Qalam, is called the Fatih.
These paintings depict cultural and religious ritual norms of the time period, providing insight into the demographics of that era as well as the geography.
Measuring up to 335 × 485 cm, these paintings are generally attributed to Iran and bear the strong influence of Chinese art and techniques, as well as symbols of Buddhism and
Shamanism, which were both major faiths in the region of Central Asia before the arrival of Islam.
[Bloom; Blair, 21]
In tone and theme, the images are a highpoint of Persian draughtsmanship and include works from the
Mozaffarid,
Jalāyerid and
Turkmen periods.
[Siāh-Qalam 'black pen" the genre of paintings or drawings done in pen and ink; the painters of such drawings]
. ''Encyclopædia Iranica
''Encyclopædia Iranica'' is a project whose goal is to create a comprehensive and authoritative English language encyclopedia about the history, culture, and civilization of Iranian peoples from prehistory to modern times.
Scope
The ''Encyc ...
''. Retrieved 27 September 2015 They are sometimes attributed to the
notname
In art history, a ''Notname'' (, "necessity-name" or "contingency-name") is an invented name given to an artist whose identity has been lost. The practice arose from the need to give such artists and their typically untitled, or generically title ...
Ustad Siyah Qalam; equivalent in English to the ''Master of the Black Pen''. There had been conflicting opinions about whether Siyah Qalam was an individual or a group of artists. This discourse arose because the artwork was done in a non-cohesive style with the name "Siyah Qalam" written and placed differently on each art piece.
The figures depicted in the paintings span a variety of cultures: Iranian, Turkic, Chinese,
Mongolic, and date to the century after reign of the
Turco-Mongol
The Turco-Mongol or Turko-Mongol tradition was an ethnocultural synthesis that arose in Asia during the 14th century, among the ruling elites of the Golden Horde and the Chagatai Khanate. The ruling Mongol elites of these Khanates eventuall ...
conqueror
Timur
Timur ; chg, ''Aqsaq Temür'', 'Timur the Lame') or as ''Sahib-i-Qiran'' ( 'Lord of the Auspicious Conjunction'), his epithet. ( chg, ''Temür'', 'Iron'; 9 April 133617–19 February 1405), later Timūr Gurkānī ( chg, ''Temür Kü ...
. Notable for their intrinsic quality, they contain depictions of diabolic imagery, everyday nomadic life in the Euroasian steppe, and contemporary culture's relationship with the dead.
They are held at the
Topkapi Saray Library, Istanbul; parts of the ''Diez Albums'' of the
Berlin State Library
The Berlin State Library (german: Staatsbibliothek zu Berlin; officially abbreviated as ''SBB'', colloquially ''Stabi'') is a universal library in Berlin, Germany and a property of the Prussian Cultural Heritage Foundation. It is one of the ...
are closely related.
Muhammad Siyah Qalam
Originally, the album paintings and drawings within this collection were attributed to the name of Muhammad Siyah Qalam. The works bear either hastily written jottings or elegant ''
nastaliq'' attributions to the name, with some including the title of Ustad or “the Master,” showing that the artist held some status.
Identifying the notname has led to debate, with some associating Muhammad Siyah Qalam with a Herat painter, Hajji Muhammad.
Others have identified
Yaqub Beg’s court painters, Shaykhi and Darvish Muhammad, as contributors to the collection alongside Muhammad Siyah Qalam, while some suggest Darvish Muhammad and Muhammad Siyah Qalam may be one and the same.
However, a broad scholarly consensus has formed around the idea that the paintings are likely the work of numerous individuals.
Subject Matter
Within the collection, there are depictions of demons, monsters, camp life, animals, fairy-like beings, and human figures in Chinese and Mongolian clothing. Alongside figural depictions are also details of nature (such as rocks and trees) which recur in Turkman court paintings of the Yaqub Beg period.
The more fantastical and intensely coloured
[Bloom; Blair, 225] images seem to conjure the devastation and bleakness of
Genghis Khan's reign.
[Walther, 254] The images contain dark colors, heavy lines, and highly animated figures against a blank background using unsized, unpolished paper and a limited range of colors.
The compositions are highly expressive, and a number of figures are engaged in ecstatic ritual or dance.
[Robinson, 37] The fantastical monsters are drawn from local Pre-Islamic Central Asian folklore, bearing resemblance to beings of Indian, Chinese and middle Eastern legend as Central Asia lies on the cultural crossroad between the Middle East, South Asia and East Asia.
Many of the earthly scenes depict everyday life in the Central Asian
Steppes
In physical geography, a steppe () is an ecoregion characterized by grassland plains without trees apart from those near rivers and lakes.
Steppe biomes may include:
* the montane grasslands and shrublands biome
* the temperate grassland ...
as lived by various ethnic people, most prominent the Turkic and Iranian; washing clothes, blowing fire on a cooker, hanging lines of bows and arrows.
[Walther, 255] Furthermore, a drawing in the Siyah Qalam collection seems to be an adaptation of a European painting of Hercules strangling a lion.
The living wear various head-dress and costumes and carry a variety of tools and weapons, and engage in different rituals.
It is commonly agreed upon by scholars that the illustrations were originally connected in a certain sequence belonging to a scroll and were possibly accompanied by narration when being presented. Experts have examined the paintings and determined that they have been cut from one scroll and reattached haphazardly.
Several features in the illustrations are linked to Jalāyirid painting in particular to the Great
Jalāyirid Šāhnāma, an unfinished manuscript with illustrations that are also scattered throughout multiple albums.
The miniatures were influenced by Chinese art, both in their sinuous lines and fluid rhythms, and in the figure's dress in that country's traditional dress. The works are of historical interest because of their depictions of everyday life of the faded world of historic Central Asia; with descriptions of tools, costumes, rituals, headdress, and the treatment of domesticated animals.
The cultic acts, especially the ecstatic movement of the dancing figures, filled with emotion and vehement gestures display winding and twisted limb motifs that are also seen in Buddhist and Islamic paintings.
Iconography
The sources for the drawings are uncertain; various parts may be influenced by the
Shahnameh
The ''Shahnameh'' or ''Shahnama'' ( fa, شاهنامه, Šāhnāme, lit=The Book of Kings, ) is a long epic poem written by the Persian poet Ferdowsi between c. 977 and 1010 CE and is the national epic of Greater Iran. Consisting of some 50 ...
and the biblical
Solomon. Other drawings made against blank backgrounds (such as the encampment) may at first seem to be parts of a coherent series, but at further glance could be individual studies.
In addition, given their often disparate size; their precise function cannot be determined with much certainty, though it might be that they were intended as aids to storytelling, to Royal elites.
The paintings of demons (or
jinn
Jinn ( ar, , ') – also romanized as djinn or anglicized as genies (with the broader meaning of spirit or demon, depending on sources)
– are invisible creatures in early pre-Islamic Arabian religious systems and later in Islamic mytho ...
) are mostly contained in album H. 2153, these demons are often depicted performing human actions such as sawing trees, drinking, and playing musical instruments.
The demons are semi-naked, often wearing short skirts and barefoot, with some having long scarves over their shoulders.
Some have argued that the accessories these demons wear are necklaces, earrings, pendants, or wrist and ankle bracelets, show a relation to Sufism, perhaps making the works a critique of Sufis during a historical period of political turmoil, uncertainty, and changes of power.
The choice of exhibiting demons throughout the paintings was for them to appear as negative entities that instill danger to the community. Influences of the Shahnameh and the biblical Solomon alluded to the North as the domain for demons, with Siyah Qalam suggesting that there was a connection to the Sufis (who progressed from the north).
Provenance
Muhammad Siyah Qalam is believed to have lived somewhere in the
Qipchaq steppe, either in
Moghulistan
Moghulistan (from fa, , ''Moghulestân'', mn, Моголистан), also called the Moghul Khanate or the Eastern Chagatai Khanate (), was a Mongol breakaway khanate of the Chagatai Khanate and a historical geographic area north of the Ten ...
,
Turkestan
Turkestan, also spelled Turkistan ( fa, ترکستان, Torkestân, lit=Land of the Turks), is a historical region in Central Asia corresponding to the regions of Transoxiana and Xinjiang.
Overview
Known as Turan to the Persians, western Turk ...
, or
Eastern Anatolia
The Eastern Anatolia Region ('' tr, Doğu Anadolu Bölgesi'') is a geographical region of Turkey. The most populous province in the region is Van Province. Other populous provinces are Malatya, Erzurum and Elazığ.
It is bordered by the Bl ...
.
Siyah Qalam’s paintings, with their strange iconography, were directly impacted from the environmental space the artist was surrounded with. The influence for Siyah Qalam’s paintings could include aspects of
Turkmen, Chinese, Persian, and Mongolian culture, indicating an eastern provenance.
Despite speculation about the life and work of the painter, or painters, who painted in this style, the aesthetic and inspiration certainly originates from the various schools of painting most recognizable from the region of Central or Southwest Asia.
The extant leaves are taken from a number of scrolls that transferred ownership during wars and land occupations. The extant leaves are recorded in inventories in Istanbul and in the library of Topkapi palace of
Sultan Selim I
Selim I ( ota, سليم الأول; tr, I. Selim; 10 October 1470 – 22 September 1520), known as Selim the Grim or Selim the Resolute ( tr, links=no, Yavuz Sultan Selim), was the Sultan of the Ottoman Empire from 1512 to 1520. Despite las ...
as treasure from his 1514 Persian adventure.
In 1910, Siyah Qalam's paintings were displayed in an exhibition of Islamic art in Munich. Since that exhibition, various scholars have attempted to geographically and historically pinpoint when and where the artist surfaced, with a variety of viewpoints being advanced.
Gallery
File:Siyah Qalam Folio 8 Recto.jpg, Daily life of nomads, including men washing clothes, starting a cooking fire and carrying bows and arrows
File:Siyah Qalam Boars.jpg, Study of Boars at battle
File:Siyah Qalam Performance Scene.jpg, Folio 90, recto; ''Performance Scene'', African
File:Siyah Qalam Foilo.jpg, Folio; Demons, the dead and the living at battle
File:Siyah Qalam Caravan.jpg, Caravan
File:Two demons, fettered - Google Art Project.jpg
File:Siyah Qalem - Hazine 2153, s.38a.jpg
File:Siyah Qalem Demon Dragon.jpg, Two Demons Binding a Captured Dragon
File:Muhammad Siya Qalam - Demon in chains - 1982.63 - Cleveland Museum of Art.tif, Demon in Chains
File:Siyah Qalem - Hazine 2153, s.48b.jpg, Demon Standing and Speaking in Reproach
File:Siyah Qalem - Hazine 2153, s.31b.jpg
File:Siyah Qalem - Hazine 2153, s.23b.jpg
File:Siyah Qalem - Hazine 2153, s.37b.jpg
File:Siyah Qalem - Hazine 2153, s.129b - two figures.jpg
File:Siyah Qalem - Hazine 2153, s.112a.jpg, Demons at an Entertainment
File:Siyah Qalem - Hazine 2153, s.141a.jpg, Demons Sawing a Tree
File:Siyah Qalem - Hazine 2153.jpg, Disguised Demon
References
Notes
Sources
* Bloom, Jonathan, Blair, Sheila (eds). ''Grove Encyclopedia of Islamic Art & Architecture''. Oxford: Oxford University Press, 2009.
* Robinson, B.W. ''Persian Book of Kings: An Epitome of the Shahnama of Firdaws''. Routledge, 2012.
* Walther, Ingo. ''Codices Illustres''. Berlin: Taschen Verlag, 2001.
* L’Asie des Tartares. Rencontre avec Siyah Qalem , photographies de Roland et Sabrina Michaud, introduction de Thierry Zarcone, Gallimard, 2011
* Mazhar Ipsiroglu, Siyah Qalem , Ed. Akademische Druck, Graz, 1976.
* Ben Mehmed Siyah Kalem, Master of Humans and Demons , Ed. Yapi Kredi, Istanbul, 2004
** Robinson, B.W. 1980. "Siyah Qalam". Between China and Iran. 62-65.
** Togan, Zeki V. 30 June 1963. On the Miniatures in Istanbul Libraries. Istanbul University Press.
** B. O’Kane, “Siyah Qalam: The Jalayirid Connections,” Oriental Art 48/2, 2003a, pp. 2-18.
** Shams, Elham, and Farzaneh Farrokhfar. 2020. “Sufis or Demons: Looking at the Social Context of Siyah Qalam’s Paintings,” The Medieval History Journal. 23, pp. 102-143.
** Canby, Sheila R. ‘Siyāh-Ḳalem’. Encyclopaedia of Islam, Second Edition. Ed. P. Bearman et al. Brill Reference Online. Web. 21 Nov. 2022.
** Sahiner, Rifat. “I, Mehmet Siyah Kalem, Master of Humans and Demons Articles on Siyah Kalem’s Miniatures by Ten Authors ekrem isin et al.” Art book (London, England) 14.4 (2007): 34-34.
** Gertsman, Elina, and Barbara H. Rosenwein. “Demon in Chains, Illustrated Single Page Manuscript, c. 1453, Style of Muhammad Siyah Qalam (Iran?), Opaque Watercolor and Gold on Paper; 25.70 × 34.40 Cm (10 1/16 × 13 1/2 Inches).” The Middle Ages in 50 Objects, 2018, pp. 100–04,
https://doi.org/10.1017/9781316577189.026.
** Jale Nejdet Erzen. “Mehmet the Black Pen.” The Journal of Asian Arts & Aesthetics, no. 6, 2020,
https://doi.org/10.6280/JAAA.202005_(6).0008.
** Çağman, Filiz. “Glimpses into the Fourteenth-Century Turkic World of Central Asia: The Paintings of Muhammad Siyah Qalam.” In ''Turks: Journey of a Thousand Years'', edited by Roxburgh, David J., 148–189. London: Royal Academy of Arts, 2005.
{{Authority control
Central Asian culture
Islamic illuminated manuscripts
Turkic culture
Iranian art