Courtly Splendor in the Islamic World - The Metropolitan Museum of ...

Detail, image 27
making a royal manuscript
In the royal Safavid workshop, the making of a manuscript—especially one
as ambitious as this—drew upon the resources of the state to employ artists
and supply materials such as paper, ink, gold leaf, pigments, and leather
bindings. Production took place in the Safavid court’s “house of books”
(kitabkhana), which was at once a library and a workshop. The process began
with papermaking. Sheets made of the pulp of linen and hemp rags were
custom-sized and coated with a starchy solution to prepare them for ink and
paint. Multiple factors informed design and layout: the entire text had to fit in
the allotted lines, the relationship between text and image had to be meaningful
and balanced, and the illustrated scenes had to provide a compelling visual
narrative. Once the layout was established, scribes wrote the text in the
spaces designated by the director, who inspected every line for accuracy
before passing the pages on to the painters.
The painters sketched out the entire composition with a light brush
before focusing on specific areas. They often showed off their talent by
incorporating minuscule details and playful visual elements (see detail
opposite). They prepared their pigments from natural minerals, including
semi-precious stones such as lapis lazuli (blue) and malachite (green), as
well as gold, silver, sulfur, and dyes from various plants and insects. Thanks
to surviving contemporary accounts and stylistic analyses of the paintings,
scholars have been able to distinguish the hands of many artists involved in
producing the illustrations—some by name, though others remain anonymous.
When the paintings were finished, illuminators contributed to the
overall sumptuousness of the manuscript by adorning the borders, chapter
headings, and text frames with gold. Most importantly, they created the
complex geometric designs on the opening page of the manuscript, called
the frontispiece. Then the finished gilded pages were burnished with a smooth,
hard stone such as agate or rock crystal to give them a polished effect.
Once all the pages had gone through this elaborate process, they were
brought to a binding specialist who sewed and bound the leaves and attached
a decorated leather or lacquer cover to the spine. Finally, the completed book
was placed in a jeweled container and presented to the patron.
unit 5: chapter 3. the making of a persian royal manuscript
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