Many of these paintings are designated as "the work of Master Muhammad Siyah Qalam (i. e. the Black Pen)". The insensitive manner in which these inscriptions are affixed, often even upside down, as well as the inclusion of title and nickname, make it obvious that these are only attributions by an unknown person or persons; the reason for the name itself remains unknown, as in spite of the reference to black-and-white drawings implied by the words "Black Pen", the work assigned to the artist consists almost entirely of coloured paintings.
International social justice movements and the debates that ensued prompted us to start considering the contents of our website from a critical point of view. This has led us to acknowledge that most of the texts in our database are Western-centered. We have asked the authors of our content to be aware of the underlying racial and cultural bias in many scholarly sources, and to try to keep in mind multiple points of view while describing the manuscripts. We also recognize that this is yet a small, first step towards fighting inequality.
If you notice any trace of racist or unjust narratives in our communications, please help us be part of the change by letting us know.
#1 Siyah Qalem
Rome: Salerno Editrice, 1984
- Collection: a selection of documents associated by a common thread and collected by the publisher in a single edition.
The facsimile (fully colored) is the complete reproduction of the whole original document. The pages are represented on a larger white background.
#2 Siyah Qalem
Graz: Akademische Druck- u. Verlagsanstalt (ADEVA), 1976
- Commentary (German) by İpşiroğlu, Mazhar Ş.
- Full-size color reproduction of one or more portions of the original document, Siyah Qalem: the facsimile attempts to replicate the look-and-feel and physical features of the original document; pages are trimmed according to the original format; the binding might not be consistent with the current document binding.