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was the only way I might overe my fears about being mired in sin？
Intending to startle him； I defiantly asked； “Might one be capable of
making blasphemous art without being aware of it？”
In place of an answer； he gestured very delicately and elegantly with his
hand—as if to warn me there was a child sleeping in the room—and I fell
pletely silent。 “It has bee very dark；” he said； almost in a whisper；
“let’s light the candle。”
175
After lighting the candlestick from the hot coals of the brazier which heated
the room； I noticed in his face an expression of pride； one to which I was
unaccustomed； and this displeased me greatly。 Or was it an expression of pity？
Had he figured everything out？ Was he thinking that I was some sort of a base
murderer or was he frightened by me？ I remember how suddenly my thoughts
spiraled out of control and I was stupidly listening to what I thought as if
somebody else was thinking。 The carpet beneath me； for example： There was a
kind of wolflike design in one corner； but why hadn’t I noticed it before？
“The love all khans； shahs and sultans feel for paintings； illustrations and
fine books can be divided into three seasons；” said Enishte Effendi。 “At first
they are bold； eager and curious。 Rulers want paintings for the sake of respect；
to influence how others see them。 During this period； they educate
themselves。 During the second phase； they mission books to satisfy their
own tastes。 Because they’ve learned sincerely to enjoy paintings； they amass
prestige while at the same time amassing books； which； after their deaths；
ensure the persistence of their renown in this world。 However； in the autumn
of a sultan’s life； he no longer concerns himself with the persistence of his
worldly immortality。 By ”worldly immortality‘ I mean the desire to be
remembered by future generations； by our grandchildren。 Rulers who admire
miniatures and books have already acquired an immortality through the
manuscripts they’ve missioned from us—upon whose pages they’ve had
their names inserted； and； at times； their histories written。 Later； each of them
es to the conclusion that painting is an obstacle to securing a place in the
Otherworld； naturally something they all desire。 This is what bothers and
intimidates me the most。 Shah Tahmasp； who was himself a master
miniaturist and spent his youth in his own workshop； closed down his
magnificent atelier as his death approached； chased his divinely inspired
painters from Tabriz； destroyed the books he had produced and suffered
interminable crises of regret。 Why did they all believe that painting would bar
them from the gates of Heaven？“
“You know quite well why！ Because they remembered Our Prophet’s
warning that on Judgment Day； Allah will punish painters most severely。”
“Not painters；” corrected Enishte Effendi。 “Those who make idols。 And this
not from the Koran but from Bukhari。”
“On Judgment Day； the idol makers will be asked to bring the images
they’ve created to life；” I said cautiously。 “Since they’ll be unable to do so their
lot will be to suffer the torments of Hell。 Let it not be forgotten that in the
Glorious Koran； ”creator‘ is one of the attributes of Allah。 It is Allah who is
176
creative； who brings that which is not into existence； who gives life to the
lifeless。 No one ought to pete with Him。 The greatest of sins is mitted
by painters who presume to do what He does； who claim to be as creative as
He。“
I made my statement firmly； as if I； too； were accusing him。 He fixed his
gaze into my eyes。
“Do you think this is what we’ve been doing？”
“Never；” I said with a smile。 “However； this is what Elegant Effendi； may he
rest in peace； began to assume when he saw the last painting。 He’d been saying
that your use of the science of perspective and the methods of the Veian
masters was nothing but the temptation of Satan。 In the last painting； you’ve
supposedly rendered the face of a mortal using the Frankish techniques； so the
observer has the impression not of a painting but of reality； to such a degree
that this image has the power to entice men to bow down before it； as with
icons in churches。 According to him； this is the Devil’s work； not only because
the art of perspective removes the painting from God’s perspective and lowers
it to the level of a street dog； but because your reliance on the methods of the
Veians as well as your mingling of our own established traditions with that
of the infidels will strip us of our purity and reduce us to being their slaves。”
“Nothing is pure；” said Enishte Effendi。 “In the realm of book arts；
whenever a masterpiece is made； whenever a splendid picture makes my eyes
water out of joy and causes a chill to run down my spine； I can be certain of
the following： Two styles heretofore never brought together have e
together to create something new and wondrous。 We owe Bihzad and the
splendor of Persian painting to the meeting of an Arabic illustrating sensibility
and Mongol…Chinese painting。 Shah Tahmasp’s best paintings marry Persian
style with Turkmen subtleties。 Today； if men cannot adequately praise the
book…arts workshops of Akbar Khan in Hindustan； it’s because he urged his
miniaturists to adopt the styles of the Frankish masters。 To God belongs the
East and the West。 May He protect us from the will of the pure and
unadulterated。”
However soft and bright his face might have appeared by candlelight； his
shadow； cast on the wall； was equally as black and frightening。 Despite finding
what he said to be exceedingly reasonable and sound； I didn’t believe him。 I
assumed he was suspicious of me； and thus； I grew suspicio