Barbad Plays for Khusraw

The painting Barbad Plays for Khusraw is a folio from the large manuscript of Nizamis Khamsa, commissioned by Shah Tahmasp I between 1539 and 1543. Traditional art historians say that Mirza Ali, an artist in the Tabriz workshop created this masterpiece because an explicit inscription at the bottom left names him. However modern scholars, Barbara Brend argue that Mirza Ali and Abd al-Samad are actually the same person. This idea links the end of Mirza Alis Safavid career with the quick start of Abd al-Samad at the Mughal court in South Asia. It makes the artist a foundational master who shaped two imperial traditions. The composition shows the point of the Safavid Tabriz school. The artist builds a multi-level architectural space. This structure pulls the viewers eye across the page. Rigid geometric tilework and detailed arabesques sharply contrast with the blooming plants outside the enclosure. The strong use of lapis lazuli, vermilion and gold paint needs a high-resolution look to see their bright material qualities. The painter carefully gives each courtier, servant and musician a look. This careful detail keeps the scene in a real courtly atmosphere. Khusraw sits on a carefully patterned carpet while Barbad plays from a lower but central spot. The story comes from Nizamis epic. It shows a moment of cultural and emotional exchange. Barbad, the Sasanian poet-musician carries the main oral tradition. His lyrical play stops the attention of the court. This act temporarily takes power away from the monarch. The painting shows the mix of political power and artistic influence. The painter shows the musician as more than an entertainer as a pillar of courtly legitimacy. The attendants around the musician show levels of joy and duty. They map the effect of the performance, in the picture.