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enormous legacy and was instrumental in the development and prosperity of the Azerbaijani
miniature school in Tabriz.
Miniature
Majnun Brought by a Beggar to Leyli’s Marquee
marked by kitabdar, the chief of an art
studio, as the work by Mir-Seyyid Ali, is among the best works of its kind both from the standpoint
of the general idea, and the composition. Divided into four parts by two diagonal lines, it rather
resembles the pastoral scenery then a mere illustration to the text with figures of the main characters
clustered in the corner. Reminding of the plot are village boys stoning a beggar woman and a dog
barking at Majnun, backed up by broad panorama depicting the life of a nomadic tribe is in the
background.
In 1548, the capital of the Azerbaijani state moved to Qazwin with the whole artists pool following
the court. Muhammadi is with no doubt the most gifted representative of the Tabriz-Qazwin school
in the last quarter of the 16th century. Historian Iskender Munshi names Muhammadi among the
first-class artists, with due recognition of other leading painters of the day like Mir-Zeynaladbin,
Sultan Muhammad’s grandson, Sadyg-bey, Siyavush-bey and others.
Sadyg-bey Afshar was among the most recognized artists of that period. When Shah Abbas ascended
the throne in 1587, Sadyg-bey was appointed the chief of library (kitabkhane), the position he was
holding till his death in 1610.
Anwar-i-Sukhayli
manuscript (1593) illustrated by Sadyg-bey is standing out both by its novelties
and the number of illustrations. Sadyg-bey opts for the flight of tortoise plot with a crowd of villagers,
men, women and children, expressing their surprise.
As of the late 1540’s, with the support to arts by Shah Tahmasib waning the hub of painting moved
to Meshed where Ibrahim Mirza, Shah Tahmasib’s nephew, was appointed a ruler. It was him who
immediately ordered fascinating manuscript
Haft Awang
by A.Jami (nowadays kept at Freer Gallery
of Art, Washington DC).
Salman and Absal at the Happy Island
is among the manuscript’s best
miniatures. Description of the island is almost as picturesque in the miniature in Jami’s manuscript,
with lots of species of the wildlife.
In general, the key elements of the Tabriz miniature style include large compositions, oftentimes
exceeding the space within the frame, vivid and diverse colors resembling jewelry, pigmentation, the
shining polished surface, smooth rhythmical lines, free shapes and rich background featuring either
fascinating landscapes or beautiful architecture, elegant and slightly idealized figures in excellent
surrounding, rich flora and fauna, intricate ornamental patterns on textile (including costumes,
carpets, marquees and tents) and buildings (particularly those featuring decorations made of glazed
brick, ceramic tiles and wooden elements). The feeling of power and energy is probably the most
breathtaking feature of this style. Besides this, a number of remarkable Azerbaijani miniatures created
in Tabriz in the late 16th century are captivating with vibrant vital force.
It should be particularly noted that the Tabriz school of the Azerbaijani miniature emerging in the
late 13th century has undergone a lengthy development indeed. This development was driven by the
competition with other schools on the one hand, and close ties shared with them on the other hand.
Given realities of the centralized Safavi Azerbaijani state in the early 16th century, it was destined
to grow into one of the major schools and hubs of miniature art all over the Middle East. That born
in mind, continuous development and improvement of the Tabriz school throughout the 14-16th
centuries turned it into the leading art center and a trendsetter in miniature art for good three cen-
turies down the road.