“Mehmed Siyah-Kalem”的意思、由来-百科全书

Mehmed Siyah-Kalem

Islamic painter

flourished 15th century, , Turkestan or Iran

artist known solely by the attribution of his name to a remarkable series of paintings preserved in the Imperial Ottoman Palace Library (Topkapı Saray).

Nothing is known of his life, but his work indicates that he was of Central Asian (presumably Turkish) origin, and thoroughly familiar with camp and military life. The paintings appear in the “Conqueror's Albums,” so named because two portraits of Sultan Mehmed II the Conqueror are present in one of them. The albums are made up of miniatures taken from manuscripts of the 14th, 15th, and early 16th centuries, and one series of paintings is inscribed “work of Master Muḥammad Siyah Kalem.” Something of the style and techniques of Chinese paintings is apparent in these, and an acquaintance with Buddhist art, particularly in the depictions of grotesque demonic figures. There also is evident a mordant humour and a personal vision of men or animals as little better than devils, and this may be the origin of the painter's name Siyah-Kalem (Black Pen). These paintings show a pessimistic forcefulness and realism wholly lacking in Persian art of the 15th century, and it is possible that they provided a major influence on Turkish painting, which departed from the idyllic, languid, and romantic path taken by Persian art.

词条	Mehmed Siyah-Kalem
释义	Mehmed Siyah-Kalem Islamic painter flourished 15th century, , Turkestan or Iran artist known solely by the attribution of his name to a remarkable series of paintings preserved in the Imperial Ottoman Palace Library (Topkapı Saray). Nothing is known of his life, but his work indicates that he was of Central Asian (presumably Turkish) origin, and thoroughly familiar with camp and military life. The paintings appear in the “Conqueror's Albums,” so named because two portraits of Sultan Mehmed II the Conqueror are present in one of them. The albums are made up of miniatures taken from manuscripts of the 14th, 15th, and early 16th centuries, and one series of paintings is inscribed “work of Master Muḥammad Siyah Kalem.” Something of the style and techniques of Chinese paintings is apparent in these, and an acquaintance with Buddhist art, particularly in the depictions of grotesque demonic figures. There also is evident a mordant humour and a personal vision of men or animals as little better than devils, and this may be the origin of the painter's name Siyah-Kalem (Black Pen). These paintings show a pessimistic forcefulness and realism wholly lacking in Persian art of the 15th century, and it is possible that they provided a major influence on Turkish painting, which departed from the idyllic, languid, and romantic path taken by Persian art.
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