Was acquired by the Ottomans after their victory at Battle of Chaldiran (1514) against Shah Ismail I.
The above given artwork is a piece of painting penned under the name Muhammad 'Siyah Qalam ', a name associated with a distinctive art style from early medieval Iran. As a long series of artworks that exists under the pen name of Siyah Qalam which span over centuries, historians are still trying to find out that whether Siyah Qalam was the name of a particular artist or a group of artists painting in this style. Dated at the earliest from the beginning of the thirteenth century continuing till the end of Timur's rule over Persia and Central Asia, the artworks under this pen name depict a unique blend and intermingling of Central Asian, Chinese, Mongol, Eurasian, Indian and Persian themes and folklores. The paintings by Siyah Qalam show a strong influence of Chinese stylization. Strong lines, limited colour palettes and high expression characterize these paintings. The use of limited and colour variations and coarse, unevenly designed or layer out paper represents the scourge that Mongol invasions under Chenghis Khan left over the world of art in Persia. The paintings depict Mongolian, Chinese and Central Asian traditions, rites, rituals and cultural practices that existed before the arrival of Islam in these regions. These artworks mainly feature demons, dervishes, jinns fairly like beings and Shamans who are often shown indulging in these practices. They also represent aspects of Central Asian nomadic and steppe cultures and lifestyles, also capturing the geography of these regions, shown in forms of trees, mountains, grasslands and fauna. A large collection of these paintings was originally located in Iran before the Battle of Chaldiran in 1514, in which the Ottomans secured a victory against Shah Ismail I of Safavid Iran and the artworks were taken back with them to Topkapi Palace in Istanbul, where it is still preserved.
In my opinion, this painting embodies perfectly the mysterious "Siyah Qalam" style, connecting eras of Mongol times of the thirteenth century up to the Timurid age. I believe that lines of this painting, its minimalistic color scheme, and rough paper represent the marks that the invasions of Genghis Khan put on the Persian culture.
For me, the most interesting thing about this work is the ability to represent Chinese stylization and stories of Central Asian nomads along with different Eurasian themes in one painting. Moreover, this picture perfectly reflects the pre-Islamic traditions, representing such characters as shamans, dervishes, and demons traveling through the harsh steppes and local fauna. Lastly, I consider it important to mention that this treasure was captured from Iran of Safavid times by the Ottoman invaders during the battle of Chaldiran in 1514.
