Known to have been polished by Shah Abbas around 1600-1609, who presented it to the Shrine of Shaikh Safi Al-Din; it was then sold by M. Farid Parbanta in 1963 to the Metropolitan Museum.
One of Habiballah of Sava's most iconic paintings is his depiction of *'The Conference of Birds'*, a narrative poem written by famous Iranian poet, Farid al-din ‘Attar. The poem, consisting of thousands of lines and written as rhyming couplets, is considered an allegory for humanity's spiritual journey of finding, or uniting with, God, in particular using Sufi terminology, motifs and anecdotes. The narrative follows a group of birds as they try to find a leader for themselves, a legendary creature known as the Simorgh. As the journey continues, many birds give up until only thirty remain, some of which are present in Habiballah's painting. Within this scene, the birds all look to the hoopoe, something of a spiritual leader for the group, who often gave advice and told anecdotes to the other birds when in doubt.
The painting's own journey is an interesting one. As a piece of a larger manuscript, it is believed to have been commissioned by Afghanistan Sultan Husayn Mirza Bayqara in the 15th century, although not completed in that time, possibly due to growing antipathy towards the arts from aristocrats. Some sources instead say the manuscript may have been commissioned by a poet-statesman, Mir ‘Ali Shir Nava‘i. Eventually the unfinished work had been passed down to Shah ‘Abbas, sometime around the end of the 16th and beginning of the 17th century, who had artists rebind the manuscript and its illustrations. Shah ‘Abbas had then presented the manuscript, and by proxy the painting, to the Ardabil shrine around 1608.
Interestingly, the painting style resembles that of the late-15th century Timurid paintings, along with notably Safavid features, which helps to place its origin in that time period. Yet, the presence of the hunter in the top right corner of the scene could refute this timeline, as he holds a weapon that had only gained traction in Iran in the late-16th century.
This painting is not only visually beautiful but also spiritually meaningful. The painting reflects the Sufi idea of self-discovery and the search for divine truth. The birds symbolize humanity, while the hoopoe acts as a wise spiritual guide. The detailed composition and rich colours show the elegance of Persian miniature painting. At the same time, the painting also reveals a blend of Timurid and Safavid artistic styles, showing a transition in Persian art history. The inclusion of the hunter with a firearm creates historical debate, making the artwork important not only artistically but also historically and culturally. Thus, the painting stands as a timeless blend of spirituality, history, and artistic brilliance.
