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235:) 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.
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75:), 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
318:
430:
421:
412:
367:
200:, 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.
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334:
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220:. 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.
267:, 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.
238:
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
153:
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
188:
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. 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
183:
The compositions are highly expressive, and a number of figures are engaged in ecstatic ritual or dance. 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
172:
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
192:
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
281:
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.
102:. 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.
270:
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
263:. 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
203:
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.
293:
117:. 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.
652:"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)"
387:
140:
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
180:'s reign. 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.
23:
Folio 64, recto; Demons and the dead in ritualistic dance. This scene shows
Buddhist influence, especially in the flowing drapery, and wild rhythms of their dance
877:
399:
317:
149:
Identifying the notname has led to debate, with some associating Muhammad Siyah Qalam with a Herat painter, Hajji Muhammad. Others have identified
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L’Asie des Tartares. Rencontre avec Siyah Qalem , photographies de Roland et Sabrina Michaud, introduction de Thierry Zarcone, Gallimard, 2011
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807:
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333:
375:
671:
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608:Çağman, Filiz (2005). "Glimpses into the Fourteenth-Century Turkic World of Central Asia: The Paintings of Muhammad Siyah Qalam".
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crossroad between the Middle East, South Asia and East Asia. Many of the earthly scenes depict everyday life in the Central Asian
872:
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attributions to the name, with some including the title of Ustad or “the Master,” showing that the artist held some status.
741:
Shams, Elham; Farrokhfar, Farzaneh (2020). "Sufis or Demons: Looking at the Social Context of Siyah Qalam's Paintings".
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197:
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Siāh-Qalam 'black pen" the genre of paintings or drawings done in pen and ink; the painters of such drawings
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various head-dress and costumes and carry a variety of tools and weapons, and engage in different rituals.
299:
Daily life of nomads, including men washing clothes, starting a cooking fire and carrying bows and arrows
223:
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366:
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The more fantastical and intensely coloured images seem to conjure the devastation and bleakness of
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In tone and theme, the images are a highpoint of Persian draughtsmanship and include works from the
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Several features in the illustrations are linked to Jalāyirid painting in particular to the
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The figures depicted in the paintings span a variety of cultures: Iranian, Turkic, Chinese,
60:
52:
232:
185:
79:, which were both major faiths in the region of Central Asia before the arrival of Islam.
575:
Robinson, B.W. (23–26 June 1980). Grube, Ernst J.; Sims, Eleanor (eds.). "Siyah Qalam".
162:
866:
762:
522:
846:
Ben Mehmed Siyah Kalem, Master of Humans and Demons , Ed. Yapi Kredi, Istanbul, 2004
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The sources for the drawings are uncertain; various parts may be influenced by the
177:
110:
19:
510:
252:
663:
91:
776:
Sahiner, Rifat (2007). "I, Mehmet Siyah Kalem, Master of Humans and Demons".
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67:) comprise around 80 extant late 14th and early 15th century paintings
272:
68:
843:
Mazhar Ipsiroglu, Siyah Qalem , Ed. Akademische Druck, Graz, 1976.
222:
161:
114:
247:
Muhammad Siyah Qalam is believed to have lived somewhere in the
814:
Persian Book of Kings: An Epitome of the Shahnama of Firdaws
717:
O'Kane, B. (2003). "Siyah Qalam: The Jalayrid Connections".
577:
Between China and Iran: Paintings from Four Istanbul Albums
800:
Grove Encyclopedia of Islamic Art & Architecture
850:Canby, Sheila R. Bearman, P. (ed.). "Siyāh-Ḳalem".
778:
Articles on Siyah Kalem's Miniatures by Ten Authors
339:Folio; Demons, the dead and the living at battle
98:Ustad Siyah Qalam; equivalent in English to the
650:Gertsman, Elina; Rosenwein, Barbara H. (2018).
94:periods. They are sometimes attributed to the
278:as treasure from his 1514 Persian adventure.
109:, and date to the century after reign of the
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515:The Journal of Asian Arts & Aesthetics
802:. Oxford: Oxford University Press, 2009.
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694:
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592:On the Miniatures in Istanbul Libraries
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544:
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405:Demon Standing and Speaking in Reproach
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239:Sufis (who progressed from the north).
16:Collection of 14th century ink drawings
798:Bloom, Jonathan, Blair, Sheila (eds).
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381:Two Demons Binding a Captured Dragon
858:– via Brill Reference Online.
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610:Turks: Journey of a Thousand Years
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830:. Berlin: Taschen Verlag, 2001.
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878:Islamic illuminated manuscripts
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656:The Middle Ages in 50 Objects
560:. Retrieved 27 September 2015
743:The Medieval History Journal
523:10.6280/JAAA.202005_(6).0008
231:The paintings of demons (or
590:Togan, Zeki Velidi (1963).
509:Erzen, Jale Nejdet (2020).
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453:Demons at an Entertainment
664:10.1017/9781316577189.026
154:of numerous individuals.
124:, Istanbul; parts of the
755:10.1177/0971945819895412
311:Study of Boars at battle
193:reattached haphazardly.
873:Culture of Central Asia
198:Great Jalāyirid Šāhnāma
100:Master of the Black Pen
852:Encyclopaedia of Islam
511:"Mehmet the Black Pen"
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132:are closely related.
122:Topkapi Saray Library
120:They are held at the
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557:Encyclopædia Iranica
465:Demons Sawing a Tree
227:Demons Sawing a Tree
130:Berlin State Library
29:Muḥammad Siyāh Qalam
816:. Routledge, 2012.
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65:Mehmed Siyah Kalem
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836:978-3-8228-6023-6
828:Codices Illustres
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622:Bloom; Blair, 225
325:Performance Scene
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27:The album of
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719:Oriental Art
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517:(6): 83–89.
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178:Genghis Khan
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111:Turco-Mongol
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72:
32:
28:
26:
888:Iranian art
253:Moghulistan
208:Iconography
167:Dancing Men
151:Yaqub Beg’s
136:Attribution
126:Diez Albums
73:qalam-siāhi
867:Categories
725:(2): 2–18.
658:: 100–04.
612:: 148–189.
483:References
243:Provenance
113:conqueror
84:Mozaffarid
33:Siāh-Qalam
763:214538803
327:, African
257:Turkestan
214:Shahnameh
88:Jalāyerid
77:Shamanism
784:(4): 34.
579:: 62–65.
173:period.
143:nastaliq
107:Mongolic
793:Sources
351:Caravan
286:Gallery
276:Selim I
265:Turkmen
218:Solomon
186:Steppes
128:of the
96:notname
92:Turkmen
61:Turkish
53:Persian
40:
834:
820:
806:
761:
670:
273:Sultan
69:folios
759:S2CID
259:, or
115:Timur
832:ISBN
818:ISBN
804:ISBN
668:ISBN
90:and
37:lit.
751:doi
660:doi
554:".
519:doi
233:div
31:or
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