# Mishkin Qalam: 19th-Century Artist and Calligrapher

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> Source: Bahá'í Library Online (bahai-library.com), curated by Jonah Winters. Used by permission of the curator. Original citation: Society for Persian Letters and Arts, Mishkin Qalam: 19th-Century Artist and Calligrapher, bahai-library.com.
> ──────────────────────────────────────────────────────────────────────
> 
> Mishkín Qalam:
> 
> 19th-Century Artist and Calligrapher
> 
> Society for Persian Letters and Arts
> Vahid Rafati
> Annemarie Schimmel
> 
> Switzerland: Landegg Acadamy, 1992
> 
> Contents
> 
> Note on Mishkín Qalam, by Anne-Marie Schimmel, PDF
> 
> Note on Mishkín Qalam, by Anne-Marie Schimmel, text
> 
> Mishkín Qalam, by Vahid Rafati, PDF
> 
> Mishkín Qalam, by Vahid Rafati, text
> 
> English Preface, by Persian Letters and Arts Society, PDF
> 
> English Preface, by Persian Letters and Arts Society, text
> 
> Persian front matter and introductory material, PDF
> 
> Complete book, PDF links
> 
> 1. Note on Mishkín Qalamby Anne-Marie Schimmel, PDF
> 
> Download: society-persian-letters_schimmel_mishkin_qalam.pdf.
> 
> 2. Note on Mishkín Qalamby Anne-Marie Schimmel
> proofread text
> 
> Every visitor who comes to the Sackler Museum of Art at the Harvard
> University is attracted by a beautiful calligraphic picture showing a golden
> rooster on a radiant blue background -- one of the few items in the Near
> Eastern Galleries whose reproduction as a greetings card is available in the
> Museum Shop.
> 
> We are often asked about the rooster's provenience and its meaning, and
> try to explain its importance to our visitors: throughout Iranian history the
> rooster was a bird connected with light, the herald of the true morning and,
> m the Islamic tradition, of the time for dawn prayer -- hence a bird whose
> picture evokes thoughts of clarity and splendor, baha. It is, therefore, not
> surprising that the leading Baha'i calligrapher, Mishkin Qalam, has devoted
> some of his calligraphic paintings to the representation of this bird of light,
> made up from religious formulas.
> 
> For Mishkín Qalam was not only a master calligrapher. Born in Iran in
> early nineteenth century, he became an ardent believer in the Baha'i Faith
> and spent a considerable time in Turkey -- first in Edirne, then in Istanbul'.
> However, on the instigation of the then Persian ambassador he was like
> many other Baha'is, imprisoned between 1885 and 1894 in Famagusta'. He
> also spent a few years in India. He died in the Holy Land in the early years
> of the twentieth century. His art was greatly admired in Iran and the
> countries under her cultural influence, and E. G. Browne remarks in his
> account of his sojourn in Iran (A Year among the Persians) that Mishkin
> Qalam's calligraphies were very famous and would be eagerly sought after
> by Persians of all classes, were it not for his signature which betrayed him
> as a Baha'i and made him, therefore, unacceptable for a faithful Shiite.
> 
> This is certainly a sad statement, for there is no doubt that Mishkin Qalam
> (he with the musk black, fragrant pen) is one of the finest calligraphers at
> the turn of this century. He wrote in different styles, especially in nasta'líq,
> and his crisp, clear hand immediately proves that he grew up in the
> tradition of Mir 'Imad (assassinated 1615), the leading master of Safavid
> Iran, about whom the Mughal Emperor Jahangir said: "If Shah 'Abbas had
> sent him to me I would have paid his weight in pearls."
> 
> Mishkín Qalam's firm hand makes the observer feel that he was well versed
> in large inscriptions for be forms his letters (e.g, the wide initial kh in the
> style used in architectural inscriptions. His rounded letters in nasta'líq are
> of flawless beauty, and the upper endings of the high strokes show that he
> liked to write with a sharp, freshly cut pen by which the contrasts between
> the thin and the thick strokes become very prominent so as to enhance the
> writing's beauty. Remarkable is also his elegant way of writing the heart-shaped medial h which occurs so frequently in the words baha and abha.
> 
> Mishkín Qalam would not be such a widely acclaimed artist had he
> remained always faithful to the traditional style. His writings show some
> innovative trends which were to become more prominent in the calligraphies
> of a later period; his way of somewhat softening the end of the ra is a
> novelty. Not satisfied with writing only traditional nasta'líq or inventing
> delightful birds, Mishkín Qalam tuned in with those who tried to give
> calligraphy a new character by creating as it were calligraphic porticoes or
> curtains, and he perfectly mastered the art of mirror script which had
> become very popular in Turkey in his days for pious formulas and
> invocations.
> 
> A firm hand, a flawless technique in shaping the letters, a vast imaginative
> power and a deep love for calligraphy as a means of expressing religious
> feelings, these are the qualities of Mishkin Qalam, a truly great master
> whose influence -- beyond the Golden Rooster -- can be detected in the works
> of the masters in our century.
> 
> 3. Mishkín Qalamby Vahid Rafati, PDF
> 
> Download: society-persian-letters_rafati_mishkin_qalam.pdf.
> 
> 4. Mishkín Qalamby Vahid Rafati
> proofread text
> 
> Mirza Husayn, known as Mishkín Qalam (Musk-Scented Pen), was a
> renowned Persian calligrapher, painter and poet. He was the son of
> Fatimih and Haji Muhammad 'Aliy-i-Isfahani, who were born of merchant
> families originally from Shiraz, Iran. Born in Isfahan, Iran, in 1241 or 1242
> AH [1826 A.D.1) Mishkín Qalam passed away on 25 Dhu'l-Hijjih 1330 AH
> [6 December 1912] in 'Akka.
> 
> Little information is available about the childhood of Mishkín Qalam, but
> it is known that he received his primary education in Isfahan, and that from
> his childhood he showed a great deal of interest in different styles of
> calligraphy and painting. Mishkín Qalam married, in Isfahan, Agha Bigum
> who gave birth to a daughter, Shah Bigum, and a son, Mirza Ali-Akbar.
> 
> When Mishkin Qalam was about twenty-five years old, his father passed
> away during a business trip to Tihran. Mishkín Qalam hastened to Tihran
> to attend to his father's affairs. While there, Mishkín Qalam visited a friend
> who was a shopkeeper. As he sat in the friend's shop, the Grand Vizir
> passed by. A skilled artist even in his youth, Mishkín Qalam was inspired
> to sketch a portrait of the Vizir with the mere impression of his linger nail
> on paper, a technique which he had perfected. He presented the portrait
> to the shopkeeper and left. Later, when the Vi7ir passed by once again, the
> shopkeeper showed him the portrait Mishkin Qalam had created. The Vi:,,jr
> was delighted and insisted on meeting such a brilliant artist. The
> shopkeeper with great difficulty located Mishkín Qalam and arranged the
> meeting. The Vizir invited Mishkín Qalam to the royal court to be
> presented to Nasiri'd-din Shah, the ruler of Iran. The Shah, recognizing
> the extraordinary talent of the young artist, gave him the title of "'Mishkin
> Qalam" and appointed him as a tutor to his Crown Prince who was in
> Tabriz.
> 
> Mishkín Qalam lived in Tabriz for several years as a teacher of the Crown
> Prince and other members of the royal family. During those years he made
> a trip to Isfahan to visit his family. On the way back to Tihran, he met a
> certain Baha'i by the name of Siyyid Mihdi who told him about the Baha'i'
> Faith. The impact of this meeting on Mishkín Qalam was so great that,
> without informing the court or his family, he decided to visit Baha'u'llah, the
> Prophet-Founder of the Baha'i Faith, who was residing in Adrianople
> (Edirne) at the time.
> 
> En route to Adrianople Mishkín Qalam stopped at Aleppo where he was
> hired by Jawdat Pasha, the governor of that city, as a tutor for his children.
> While he was in Aleppo, Nabil Zarandi, the great Baha'i teacher and
> historian of the Baha'i Faith, arrived in the city. He met Mishkín Qalam
> and brought him to a full recognition of the station of Baha'u'llah, Prophet-founder
> of the Baha'i Faith.
> 
> Mishkin Qalam then travelled to Adrianople, where he attained the
> presence of Baha'u'llah and became one of his scribes. At this time the use
> of the invocation "Ya Baha'u'l-Abha" (O, Thou glory of the Most Glorious)
> became prevalent among the Baha'i. Mishkin Qalam, deeply moved by the
> implications of that invocation known as the Greatest Name, arranged it in
> the beautiful form in which it is generally represented today.
> Mishkín Qalam later settled in Constantinople (Istanbul) where he came
> into contact, through his art, with many distinguished Persians and Turks.
> His stay there, however, was brief. As a result of the machinations of the
> enemies of the Baha'i Faith he was arrested and sent to Gallipoli. Together
> with some other Baha'is, he arrived there on 16 August 1868. Baha'u'llah
> and his companions arrived a day later on their way to exile in 'Akka,
> Palestine. Shortly afterwards Mishkín Qalam and the other prisoners who
> were brought from Constantinople were put on board ship with Baha'u'llah
> and His companions bound for 'Akka. On arrival in Haifa, however,
> Mishkin Qalam and three other Baha'is were sent to Cyprus while
> Baha'u'llah and most of his followers were taken to 'Akka. From 1868 to
> 1877 Mishkin Qalam was in exile in Famagusta, Cyprus. When Cyprus
> came under British rule the Ottoman prisoners were set free. In 1886
> Mishkin Qalam was finally able to go to 'Akka and join the entourage of
> Baha'u'llah.
> 
> During his years in 'Akka Mishkin Qalam devoted himself to transcribing
> the Baha'i writings and to creating magnificent works of art. He produced
> many calligraphic copies of Baha'i writings, including two volumes of the
> writings of Baha'u'llah, which he completed in 1892 and had printed in
> Bombay. A copy of Baha'u'llah 's Hidden Words in the handwriting of
> Mishkin Qalam was published recently (1983) in Germany.
> 
> After the passing of Baha'u'llah, Mishkín Qalam continued to render
> devoted services to 'Abdu'l-Baha, Baha'u'llah's son and His appointed
> successor as the leader of the Baha'i community. In 1893 he transcribed
> 'Abdu'l-Baha's Treatise on Politics, which was published in Bombay the
> same year.
> 
> In 1905 Mishkin Qalam was directed by 'Abdu'l-Baha to go to India to
> assist with Baha'i publications. He continued his services there until he fell
> ill and, at the invitation of 'Abdu'l-Baha, returned to the Holy Land where
> he resided until the end of his life. One of his last services was to design
> the calligraphic inscriptions carved on the sarcophagus presented by the
> Baha'is of Burma to hold the remains of the Bab, founder of the Babi
> Faith.
> 
> Not only was Mishkín Qalam a distinguished calligrapher and artist, he also
> composed poetry. Yet his enduring fame is due to his penmanship, which
> is characterized by elegance in a wide range of different styles of Persian
> and Arabic scripts. Baha'i historians have described Mishkin Qalam as a
> pleasant man with a keen sense of humor who was always ready to offer a
> witty response in conversation.
> 
> A full study and thorough evaluation of the work of Mishkín Qalam remains
> to be undertaken by experts, But without doubt, Mishkin Qalam's most
> outstanding contribution is that he was the first Baha'i artist to have used
> the art of calligraphy and painting to express profoundly his religious
> convictions and mystical experiences. The concept of combining epigraph
> and images in a figural calligraphy was well established in Islamic culture,
> but Mishkin Qalam's main source of inspiration was the Baha'i writings.
> Bird imagery, which appears so frequently in Mishkin Qalam's calligraphic
> renderings, is a powerful expression of the theme of the "Nightingale of
> Paradise" or the "Cockerel of the Throne" announcing the dawn of the new
> :Faith and the bringing of a heavenly message to the mortal world.
> 
> Besides his transcriptions of the Baha'i writings, Mishkin Qalam produced
> scores of calligraphic renderings of verses from the Baha'i texts, and of
> invocations such as "Ya Baha'u'l-Abha," "Ya 'Alfu'l-A'la," (O, Thou
> Exalted, the Most Exalted) and "Ya 'Abdu'l-Baha" (O 'Abdu'l-Baha) in
> various sizes and designs of exquisite beauty, proportion, and originality.
> Mishkin Qalam had mastered the traditional styles of calligraphy such as
> Nasta'liq, Naskh, and Shikastih, in addition to his own unique "bird script,"
> and he often incorporated several styles in one piece. Hundreds, perhaps
> thousands, of examples of his artistry are preserved in Baha'i archives or
> displayed in Baha'i Centers or Holy Places or in the homes of some Baha'is
> around the world. Some pieces even are in prominent museums such as
> Arthur M. Sackler Museum, Harvard University.
> 
> Mishkin Qalam usually signed his works as "Servant at the gate of Baha',
> Mishkín Qalam." The story of this signature dates back to his days in
> Aleppo. When he had finished one of his pieces, he asked Nabil to write
> a verse to be put on the work. Nabil inscribed the following verse:
> 
> Dar diyar-i khatt shah-i sahib 'alam,
> 
> Bandiy-i bab-i Baba, Mishkín Qalam.
> 
> [In the realm of calligraphy
> 
> the King who possesses the Banner
> 
> is the Servant at the gate of Baha',
> 
> Mishkin Qalam.]
> 
> Or in Marzieh Gail's translation,
> 
> "Lord of calligraphy, my banner goes before;
> 
> But to Baha'u'llah, a bondsman at the door,
> 
> Naught else am I,
> 
> Mishkín Qalam"2
> 
> Bibliography
> 
> 'Abdu'l-Baha. Memorials of the Faithful. Wilmette: Baha'i Publishing
> Trust, 1971.
> 
> Aidun, Gol. "Mishkin Qalam, The Great Calligrapher and Humorist."
> Unpublished paper delivered at the New England Regional
> Conference of the Association for Baha'i Studies, 1982.
> 
> Balyuzi, H. M. Baha'u'llah: King of Glory. Oxford: George Ronald, 1980.
> 
> Browne, Edward Granville. A Year Amongst the Persians. London: Century
> Publishing, 1984.
> 
> - - - Materials for the Study of the Bab£ Religion. Cambridge: Cambridge
> Press, 1961.
> 
> - - - A Traveller's Narrative written to illustrate the Episode of the Bab.
> New York: Baha'i Publishing Committee, 1930.
> 
> Haydar-Ali, Haji Mirza. The Delight of Hearts. Translated and abridged
> by A. Q. Faizi. Los Angeles: Kalimat Press, 1980.
> 
> Ishraq-Khavari, 'Abdu'l-Hamid. Nuray11-i-Nayyeray11. Tehran: Baha'i
> Publishing Trust, 1967.
> 
> Mazandarani, A. Asraru'l-Athar, Part I. Tehran: Mu'assisih-i Melli-i
> Ma~bu • at-i Amri (National Baha'i Publishing Trust), 1968.
> 
> Mooghen, Amanullah. 'Athar va Ahval-i Badi az Khushnivisan-i Baha'i"
> in Khoosh-i-ha'i az Kharmani Adab va Honor. Landegg,
> Switzerland: Persian Letters and Art Society, 1990.
> 
> Momen, Moojan. The Babi and Baha'i Religions 1844-1944: Some
> Contemporary Accounts. Oxford: George Ronald, 1983.
> 
> Nabil-i A'zam, Muhammad. The Dawn-Breakers: Nabil's Narrative of the
> Early Days of the Baha'i Revelation. Wilmette: Baha'i Publishing
> Trust, 1932.
> 
> Nakhjavam, Bahiyyih. Four on An Island. Oxford: George Ronald, 1983.
> 
> Oeming Badiee, Julie and Heshmatollah Badiee. "The Calligraphy of
> Mishkin Qalam" in The Journal of Baha'i Studies. Volume 3
> (1991), Number 4, pp. 1-22.
> 
> Schimmel, Anne-Marie. Calligraphy and Islamic Culture. New York: New
> York University Press, 1978.
> 
> - - - Islamic Calligraphy. Leiden: E. J. Brill 1970.
> 
> Stevens, E. S. The Mountain of God. London: Mills and Boon, 1911.
> 
> Tahirzadeh, Adib. The Revelation of Baha'u'llah, volume I. Oxford:
> George Ronald, 1975.
> 
> - - - The Revelation of Baha'u'llah, volume II. Oxford: George Ronald,
> 1977.
> 
> Notes
> 
> 1. Dr. Mehrdad Meshkin as well as the late Gol Aidun report the year of Mishkin Qalam's
> birth as 1810
> 
> 2. 'Abdu'l-Baha, Memorials of the Faithful, English translation by Marzieh Gail, p. 99n.
> 
> 5. English Preface
> by Persian Letters and Arts Society, PDF
> 
> Download: society-persian-letters_mishkin_qalam_preface.pdf.
> 
> 6. English Preface
> by Persian Letters and Arts Society
> proofread text
> 
> PREFACE
> 
> Mirza Hussain Isfahani, who was given the title "Mishkin Qalam" (black or
> musk-scented pen) by the Shah of Persia, will always have a special and
> exalted rank among the great masters of calligraphy and design.
> 
> Although some Iranian scholars, perhaps due to religious prejudice, have
> either ignored or made only a passing reference to Mishkin Qalam's work,1
> many fair-minded scholars and researchers have praised him as a great
> master of his art. For example Muhammad 'Ali Karimzadeh Tabrizi has
> testificd2 that Mishkin Qalam was "an innovative creator of tughras from
> Isfahan who produced masterpieces by combining calligraphy with figure-drawing
> (now called calligraphic painting) and illuminated them in gold and
> other decorative colors. I have seen his tughras that were in the form of a
> bird, Bismillah or a human face, or in chalipa style and all were signed
> Mishkin Qalam and dated between 1305 to 1325 A.H. The best of the
> artist's tughras displayed in Islamic World Festival exhibition in London was
> in the; form of a bird composed of letters and it was signed 'servant of the
> gate of Baba, Mishkin Qalam, 1305.' Another beautiful work of this master
> was in the form of a bird facing its mirror image, composed of words, and
> the margins were exquisitely illuminated. This fine piece which was sold in
> 1977 by Spinks Gallery in London was signed 'Servant of the gate of Baha,
> Mishkin Qalam, 1307.' Mishkin Qalam died in 1330 A.H. and is buried
> outside Iran"3
> 
> There is no doubt that Mishkin Qalam's skill was not limited to nasta'liq,
> the style that was perfected by Mir 'Imad Hassani Seifi Qazvini. He
> excelled in every style of calligraphy prevalent in his days. Evidence of his
> mastery is a piece in which he has written some of the verses of
> Baha'u'llah4 in the seven principal styles of calligraphy. In that masterpiece
> he has demonstrated the highest level of calligraphic skill. Another example
> is a copy of The Hidden Words of Baha'u'llah the opening page of which he
> has written in nasta'liq and naskh.
> 
> In Ruhu'l-Khat Al'Arabi (the spirit of Arabic calligraphy) [2nd. edition,
> Lebanon, 1988] Kamal-el-Baba, himself a peerless artist, has included five
> works of Mishkin Qalam in the chapter entitled Lawhat-i Fanni
> (masterpieces). All of them are in very fine nasta'liq style. One which
> stands out is a special arrangement of a verse which means "He will glorify
> the one who is humble and will abase he who is greedy." Another piece
> that catches the eye is a verse from the Holy Qur'an in the form of a cone.
> Kamal-el Babel refers to Mishkín Qalam as the Persian Baha'i calligrapher.
> 
> 'Abdu'l-Muhammad Irani, editor of the periodical Chihrihnama, in his book
> Peydayish-i Khat va Khattatan (Calligraphy and Calligraphers) [Tehran: n.d.,
> p. 3.56] has these words about Mishkín Qalam. "In mastery of the seven
> styles he was indeed peerless among his contemporaries and must be
> counted among the geniuses of his age. His work which is of unparalleled
> beauty is now displayed in libraries in Syria and Egypt."
> 
> Mehdi Bayani in his three-volume work Ahval va Athar-i Khushnivisan-i,
> Nasta'liq Nivisan (Life and Work of Calligraphers in Nasta'liq) after quoting
> the above words of Abdu'l-Muhammad Khan adds that the inscriptions in
> the mausoleum of Mirza Muslim (located near the shrine of Seyyed Hamzih
> in the Sorkhab district of Tabriz) are the work of Mishkin Qalam. These
> inscriptions were made on paper and attached to the walls of the shrine
> under glass. Bayani praises Mishkin Qalam's nasta'liq, shikastih ta'liq, and
> sitikastih nasta'liq calligraphy.
> 
> It is worth noting that although Mishkín Qalam is an outstanding
> calligrapher, he was not the only eminent calligrapher among the Baha'is.
> From the very beginning of the new religion special attention was paid to
> calligraphy, and all that is written in the hand of the central figures of this
> Faith witness that attention. The Bab5 writes "Permission is not given to
> anyone to write even a single letter of the Bayan except in the best of
> handwritings."6
> The Bab himself most often used shikastih nasta'liq and the
> speed of his writing was the source of astonishment of those present.
> Calligraphic exercises in the handwriting of Baha'u'llah when still a child arc
> available. The beauty of those pieces is evidence of being instructed by His
> illustrious father Mirza 'Abbas (Buzurg) Nuri, who was one of the greatest
> calligraphers of the Qajar era.
> 
> The publication of the present collection of the works of the great master
> of calligraphy and graphic design, Mishkin Qalam, honors one who lived for
> many years in the presence of Baha'u'llah and received from His words the
> inspiration to create unique pieces of calligraphy and art. It also
> commemorates the centenary of the passing of Baha'u'llah.
> 
> Baha'u'llah has not only given humanity a set of moral and spiritual
> teachings, he has also laid the foundation for a new civilization and a new
> world order. His goal is to gather all of humanity together under the banner
> of peace, fellowship and justice. In His teachings, Baha'u'llah has
> emphasized art, creativity, praise and respect for nature, and loving care for
> whatever God has created. This compilation is but a small tribute to all
> those who are striving to build a better and more beautiful world and hope
> that one day goodness, beauty and truth will take the place of ugliness, evil
> and deceit.
> 
> In conclusion it remains for us to acknowledge the contributions of all those
> who have helped in the production of this compilation, especially Dr. Vahid
> Rafati and Professor Anna Marie Schimmel who have provided brief
> introductions to the life and work of Mishkin Qalam; Dr. Mohammad
> Afnan and Mr. Saeed Mohamed who assisted with the selection of the
> specimens of Mishkin Qalam's calligraphy and took charge of technical
> matters connected with printing of the compilation with great patience,
> sincerity and care; also Dr. Manuchehr Derakhshani and Mr. Foad Rousta'i
> who assisted in the translation and editing work for this volume. Finally we
> express gratitude to Mr. Amanullah Mooghen who, himself an
> acknowledged artist, has graced this volume with his calligraphy.
> 
> The production of such a compilation requires a substantial capital.
> Without the generosity and support of Mr. Hussaingholi and Mrs. Khojasteh
> Kiayani the project would not have been realized. We wish all of these dear
> colleagues evermore success in their literary, artistic and humanitarian
> services.
> 
> Persian Letters and Arts Society
> 
> Notes
> 
> l. For instance the four volume Ahval va Athar-i Khushnivisan (Life and Work of
> Calligraphers,) 2nd. ed. Tehran: 1363 AH (1984).
> 
> 2. Ahval va Athar-i Naqqashan-i Qadim-i Iran va Barkhi az Mashahir-i Nigargar-i Hind va
> 'Uthmani (Life and Work of Ancient Iranian Painters and Some Indian and Ottoman Artists),
> 2 volumes, London: 1369 AH (1990)
> 
> 3. For a biography of Mishkin Qalam see "Mishkin Qalam" by Dr. Mehrdad Meshgin (his
> great grandson) in Herald of the South, Vol. 3, April 1985, pp. 2-11, or articles by Amanullah
> Mooghen in Khoosh-i-ha'i az Kharman-i-Adab va Honar, Vol. I, and by Saeed Motamed in
> Khoosh-i-ha'i az Kharman-i-Adab va Honar, Vol. 4.
> 
> 4. Mirza Husayn-'Ali, entitled Baha'u'llah, Founder or the Baha'i Dispensation
> 
> 5. Mirza 'Alf-Muhammad or Shiraz, known as the Bab, was the inaugurator of the Babi
> Dispensation and the Forerunner of the Baha'i Dispensation
> 
> 6. Persian Bayan, Bab-i Hifdahum (chapter 17), Vahid Sivum (unit 3)
> 
> 7. Persian front matter and introductory material, PDF
> 
> Download: society-persian-letters_mishkin_qalam_preface_persian.pdf.
> 
> 8. Complete book, links to PDFs
> 
> Complete book, original link: bluefin.live/wp-content/uploads/2023/10/mishkin-qalam_calligraphy_book.pdf [73 MB]
> 
> Complete book, reduced-size PDF, English pages OCR-ed: society-persian-letters_mishkin_qalam_calligraphy.pdf [52 MB]
> 
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> 
> Views2614 views since posted 2025-04-26; last edit 2025-04-27 06:27 UTC;
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> Formatted, proofread J. Winters, 2025-04. Page order from original PDF reversed for English-language excerpts.
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> — *Mishkin Qalam: 19th-Century Artist and Calligrapher (Used by permission of the curator)*