The above is an artwork by Muhammad Siyah Qalam, a well-known and recurring name in the world of a raw, grotesque style of painting that spanned the centuries of the early medieval Iran. Though there is still a debate among historian on whether Siyah Qalam was the name of a particular artist who started this genre or a group of artists who painted in this particular style under one pen name. This is because a number of paintings which are there by the name 'Siyah Qalam' follow a formatwhich differs completely from the sophisticated courtly styles, both in their form and themes. The paintings show a use of darker lines, highly expressive figures and use of limited colours- an effect laid down by Mongol invasions under Chenghiz Khan on the world of Persian art. The paper also used for these paintings are unevenly cut, and rough in nature. Moreover, the stylization of the figures in the painting shows heavy influence of Chinese art along with Mongolian, Eurasian, Central Asian, Indian and Persian effects- reflected both in art form and stories they depict. Most of these paintings depict folklores from Iran and Central Asia before Islam spread over those regions. They also reflect the local nomadic and steppe culture, along with the flora and fauna. The above painting shows two demons being chained and being taken away by a man. This was common feature from Persian folklore where 'Divs' (demons) were often captured by/for Persian kings or mythological heroes to serve them. Thus, the above painting by Siyah Qalam is not just an art, but a reservoir of the non- Islam traditions and folklores of Iran and Central Asia which continued to survive in his paintings.
This striking painting attributed to Muhammad Siyah Qalam departs radically from the elegance of Persian court art, embracing instead a raw, expressive visual language. At its centre, two grotesque demons with exaggerated features, dark complexions, and distorted limbs are bound together by a golden chain and led forward by a human figure. Their contorted postures, intense expressions, and oversized feet heighten the sense of struggle and captivity. Executed in a restrained palette of earthy browns, deep blacks, muted reds, and ochres, the composition derives its dramatic impact from bold outlines rather than decorative embellishment. The rough surface and simplified background direct complete attention to the figures, allowing their psychological intensity to dominate. Through its unconventional style and powerful characterisation, the painting transforms a folkloric episode into a compelling exploration of fear, power, and the supernatural imagination.
