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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 suspicious of him； I sensed
that he was listening at times for the courtyard gate below； that he was hoping
someone would deliver him from my presence。
177
“You yourself told me how Sheikh Muhammad the Master of Isfahan
burned down the great library containing the paintings he had renounced；
and how he also immolated himself in a fit of bad conscience；” he said。 “Now
let me tell you another story related to that legend that you don’t know。 It’s
true； he’d spent the last thirty years of his life hunting down his own works。
However； in the books he perused； he increasingly discovered imitations
inspired by him rather than his original work。 In later years； he came to realize
that two generations of artists had adopted as models of form the illustrations
he himself had renounced； that they’d ingrained his pictures in their minds—
or more accurately； had made them a part of their souls。 As Sheikh
Muhammad attempted to find his own pictures and destroy them； he
discovered that young miniaturists had； with reverence； reproduced them in
countless books； had relied on them in illustrating other stories； had caused
them to be memorized by all and had spread them over the world。 Over long
years； as we gaze at book after book and illustration after illustration； we e
to learn the following： A great painter does not content himself by affecting us
with his masterpieces； ultimately； he succeeds in changing the landscape of
our minds。 Once a miniaturist’s artistry enters our souls this way； it bees
the criterion for the beauty of our world。 At the end of his life； as the Master
of Isfahan burned his own art； he not only witnessed the fact that his work；
instead of disappearing； actually proliferated and increased； he understood
that everybody now saw the world the way he had seen it。 Those things which
did not resemble the paintings he made in his youth were now considered
ugly。”
Unable to rein in the awe stirring within me and to control my desire to
please Enishte Effendi； I fell before his knees。 As I kissed his hand； my eyes
filled with tears and I felt I had relinquished to him the place in my soul that
had always been reserved for Master Osman。
“A miniaturist；” said Enishte Effendi in the tone of a self…satisfied man；
“creates his art by heeding his conscience and by obeying the principles in
which he believes； fearing nothing。 He pays no attention to what his enemies；
the zealots and those who envy him have to say。”
But it occurred to me that Enishte Effendi wasn’t even a miniaturist as I
kissed his aged and mottled hand through my tears。 I was embarrassed by my
thought。 It was as if another had forced this devilish； shameless notion into my
head。 Even so； you too know how true this statement is。
“I’m not afraid of them；” Enishte said； “because I’m not afraid of death。”
178
Who were “they”？ I nodded as if I understood。 Yet annoyance began to
mount within me。 I noticed that the old volume immediately beside Enishte
was El…Jevziyye’s Book of the Soul。 All dotards who seek death share a love for
this book that recounts the adventures that await the soul。 Since I’d been here
last； I saw only one new item among the objects collected in trays； resting on
the chest； among the pen cases； penknives； nib…cutting boards； inkwells and
brushes： a bronze inkpot。
“Let’s establish； once and for all； that we do not fear them；” I said boldly。
“Take out the last illustration。 Let’s show it to them。”
“But wouldn’t this prove that we minded their slander； at least enough to
take it seriously？ We’ve done nothing of which we ought to be afraid。 What
could justify your being so frightened？”
He stroked my hair like a father。 I was afraid that I might burst into tears
again； I embraced him。
“I know why that unfortunate gilder Elegant Effendi was killed；” I said
excitedly。 “By slandering you； your book and us； Elegant Effendi was planning
to set Nusret Hoja of Erzurum’s men upon us。 He was convinced that we’d
fallen sway to the Devil。 He’d begun spreading such rumors； trying to incite
the other miniaturists working on your book to rebel against you。 I don’t
know why he suddenly began to do this。 Perhaps out of jealousy； perhaps he’d
e under Satan’s influence。 And the other miniaturists also heard how
determined Elegant Effendi was to destroy us all。 You can imagine how each of
them grew frightened and succumbed to suspicions as I myself had。 Because
one of their lot was cornered； in the middle of the night； by Elegant Effendi—
who had incited him against you； us； our book； as well as against illustrating；
painting and all else we believe in—that artist fell into a panic； killing that
scoundrel and tossing his body into a well。”
“Scoundrel？”
“Elegant Effendi was an ill…natured； ill…bred traitor。 Villain！” I shouted as if
he were before me in the room。
Silence。 Did he fear me？ I was afraid of myself。 It was as if I’d succumbed to
somebody else’s will and thoughts； yet； this was not wholly unpleasant。
“Who was this miniaturist who fell into a panic like you and the illustrator
from Isfahan？ Who killed him？”
“I don’t know；” I said。
179
Yet I wanted him to infer from my expression that I was lying。 I realized that
I’d made a grave error in ing here； but I wasn’t going to succumb to
feelings of guilt and regret。 I could see that Enishte Effendi was growing
suspicious of me and this pleased and fortified me。 If he became convinced
that I was a murderer and this knowledge struck terror throughout his soul；
then he wouldn’t dare refuse to show me the final painting。 I was so curious
about that picture； not because of any sin I’d mitted on its account—I
genuinely wanted to see how it’