​​Bibliography

This is the Bibliography I give to my students. Here for your convenience:

Any illustrated Shahnamehs (the British Library is a good source as well as worldwide museums and collections of Islamic art); I particularly recommend the David Collection in Copenhagen as a rich source of Islamic art and beautiful museum presentation with free entry

Good Background Reading

Islam and Muslim Art (Translated from the French by Robert Erich Wolf) Hardcover – 1979 by Alexandre Papadopoulo (Author) Harry N. Abrams (1979)

My Name is Red by Orhan Pamuk - good fictional introduction to the world and context of miniature painters

Persian Paintings Coloring Book (Persian) Paperback – 12 Jan 2016 by Nashre Vohuman (Author, Producer) CreateSpace Independent Publishing Platform; Clr Csm edition (12 Jan. 2016), in Persian language – why not? Might get you used to working with your hands

Persian Miniature Designs (International Design Library) Paperback – 1 Oct 1983 by Stephenson Mojdeh (Author) Stemmer House Publishers Inc.,U.S. (1 Oct. 1983) – in a similar vein; a sourcebook

Scholarly Editions

Mughal Miniatures (Eastern Art) Paperback – 1 Sep 2006 by J M Rogers Interlink Books (1 Sept. 2006)

Paintings from Mughal India Paperback – 30 Aug 2013 by Andrew Topsfield The Bodleian Library (30 Aug. 2013)

The Mughals: Life, Art and Culture: Mughal Manuscripts and Paintings in the British Library Paperback – Illustrated, 24 Sep 2014 by J. P. Losty (Author), Malini Roy (Author), John Falconer (Author), Ursula Sims-Williams (Author), Dr. Muhammad Isa Waley (Author) Roli Books (24 Sept. 2014)

Persian Painting (Eastern Art) Paperback – 7 Jun 1993 by Sheila Canby British Museum Press; 01 edition (7 Jun. 1993)

Persian Painting Paperback – 22 Feb 1996 by Stuart Cary Welch (Author) George Braziller Inc; New edition edition (22 Feb. 1996)

Persian Painting (Treasures of Asia) Paperback – 7 Jul 1977 by Basil Gray Macmillan (7 July 1977) – easy read

Early Persian Painting: Kalila Wa Dimna Manuscripts of the Late 14th Century Hardcover – 21 Feb 2003 by Bernard O'Kane (Author) I.B.Tauris (21 Feb. 2003)

Wonder of the Age: Master Painters of India, 1100-1900 (Metropolitan Museum of Art) Hardcover – 20 Sep 2011 by John Guy (Author), Jorrit Britschgi (Author) Yale University Press (20 Sept. 2011)

For the Privileged Few: Islamic Miniature Painting from the David Collection Hardcover – 30 Jul 2008 by Kjeld Von Folsach Louisiana Museum of Modern Art (30 July 2008)

Persian Paintings: From Monguls to the Qajars (Pembroke Persian Papers Series) Hardcover – 22 Feb 2001 by Robert Hillenbrand (Editor) I.B.Tauris (22 Feb. 2001)

Peerless Images: Persian Painting and Its Sources Hardcover – 4 Oct 2002 by Eleanor Sims (Author), Boris I. Marshak (Author), Ernst J. Grube (Author), Hossein Amirsadeghi (Foreword) Yale University Press; 1st edition (4 Oct. 2002) - classic

Islamic miniature painting : Topkapi Saray Museum / by Filiz Cagman, Zeren Tanindi Unknown Binding – 1979

Masterpieces of Chinese Painting: 700 - 1900 Hardcover– 7 Oct 2013 by Hongzing Zhang (Editor) V & A Publishing; 01 edition (7 Oct. 2013) – excellent catalogue and introduction to Chinese painting, and an interesting read

Wonders of the age: Masterpieces of Early Safavid Painting, 1501-1576 Paperback – 1 Jan 1979 by Stuart Cary Welch (Author) Fogg Art Museum (1979) - classic

Princes, Poets and Paladins: Islamic and Indian Paintings from the Collection of Prince and Princess Sadruddin Aga Khan Hardcover – 1 Jan 1998 by Sheila R. Canby (Author) British Museum Press; 01 edition (Jan. 1998) - classic

Mostly Miniatures: An Introduction to Persian Painting Paperback – 15 Jan 2002 by Oleg Grabar Princeton University Press (15 Jan. 2002)

The Emperor's Album: Images of Mughal India Hardcover – 1 Jan 1968 by Annemarie Schimmel (Author), Marie Swietochoski (Author), W. M. Thackston(Author), Stuart Cary Welch (Author) Harry N. Abrams, Inc.; 01 edition (1 Jan. 1968)

The King of the World: The Padshahnama - An Imperial Mughal Manuscript from the Royal Library, Windsor Castle Hardcover – 3 Mar 1997 by Milo Cleveland Beach (Author), W. M. Thackston (Author), Ebba Koch(Author) Thames & Hudson Ltd; 01 edition (3 Mar. 1997) – big and heavy book with nice image reproductions

Masterpieces of Islamic Art: The Decorated Page from the 8th to the 17th Century Hardcover – Illustrated, 1 Aug 2009 by Oleg Grabar (Author) Prestel; 01 edition (1 Aug. 2009) – controversial scholar at PSTA but beautiful image reproductions

The Spirit of Indian Painting: Close Encounters with 101 Great Works 1100-1900 by B. N. Goswamy, 2016, London: Thames & Hudson - thick but very readable and enjoyable book about the spirit of all painting, I'd say, with of course a focus on Indian painting, but a widely available and essential book. One of my favourites that I recommend everyone read cover to cover!​

General Reading

The Silk Roads: A New History of the World by Peter Frankopan, Bloomsbury 2015 – highly, highly, highly recommended!!!

Islamic Science: An Illustrated Study (World of Islam Fest. Pub. Co.) Hardcover – 1 Apr 1976 by Seyyed Hossein Nasr – very easy and absorbing read

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Aims and Objectives

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I share with all my students before the start of my courses (this is for Rocks but applicable to all courses) and my general wishes for people when they embark on their miniature painting journeys, here for you convenience:

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AIMS AND OBJECTIVES

To enjoy painting rocks

To provide a foundation skill set of the basic miniature painting techniques including line and colourwork common to the Persian and Mughal schools and to reveal how the Chinese school influenced these in terms of line etc

To show students the basic forms of rock iconography and the continuum of rocks that exists between Persia, Mughal India and China

To create an awareness of how cultural exchange can enrich existing traditions and spark new ones

To foster an understanding of how synthesis, if done well and in the right spirit, can equal more than the sum of its parts

To have fun on the course

To experience to a certain degree the sheer pleasure that is part of the making process and the sense of accomplishment of having made something with their own hands

To realise that there are no ‘wrong’ rocks and to relax, trust and enjoy the process

To instil an awareness of how rocks fit in to the wider world of miniatures and paintings and their design, and a basic awareness of the fundamental principles behind these designs

To introduce students to a bit of the spirituality, theory and historical development behind rocks; mostly this is a practical skills course so students will come away with a set of practical skills to work with in future

To know how to make classic and traditional forms unique by adding their own elements, colours and flavours in keeping with the harmony of the piece

To recognize the different traditions of painting rocks and to be able to discern to a certain degree the differences between the various schools and their contexts

To engender a love for painting and a desire to protect and preserve the cultural heritage of the world

To be inspired by the traditional arts

To use both traditional natural pigments and modern synthetics in their work and most importantly to know the difference; this is not a natural pigments course though provision will be made for some natural pigments especially malachite, and to be aware of the alchemical transmutations of stone to the jewels and gold to painting; to make it easy for students to continue with widely-available materials in the UK

To begin to make connections between the flow of the paintbrush, the flow of the rocks and the flow experienced when painting in a state of complete harmony with one’s materials; to begin to experience Csikszentmihalyi's flow and its relationship to the psychology of happiness

To work hard and play hard

In order to achieve these aims, students can TAKE NOTES AND PHOTOGRAPHS of their processes for their future records and have ample time and space to practise the forms before committing to their final lines on their pieces; they will have practise papers beside their pieces and do plenty of brush exercises to warm up. Visual aids will be provided to work from directly such as photocopies and worksheets, or as help and inspiration. By the end of the course, participants will have an example of a finished painting either to continue as part of a larger miniature or as a stand-alone piece.

 

SHOPS

(Ok not a physical shop!) (But everything else is!) VAISHALI PRAZMARI BRUSHES - THE PERFECT BRUSH - specially designed and lovingly created handmade brushes from best quality Kolinsky sable and swan feather by yours truly, for traditional miniature painting and contemporary watercolours

https://www.theperfectbrush.co.uk

A P FITZPATRICK - they sell my brushes! As well as pigments from Kremer, and other brands that are not available elsewhere in the UK (including some nice oil paint suppliers). Friendly and highly knowledgeable staff.

142 Cambridge Heath Road, London, E1 5QJ

020 7790 0884

info@apfitzpatrick.co.uk

https://shop.apfitzpatrick.co.uk

CASS ART - cheap cheap! Especially if you are a student. No special brands here though but excellent for staples. Branches all over London including Hampstead, Charing Cross and Soho. Friendly staff in High St Kensington branch

Islington branch (flagship store)

66-67 Colebrooke Row, London N1 8AB

020 7354 2999

https://www.cassart.co.uk

JACKSON’S/HANDOVER – ratio of quality selection/price plus knowledgeable and friendly staff; gilding materials to be found downstairs at Handover and art materials upstairs at Jackson’s

1 Farleigh Place, London N16 7SX

020 7254 0077

https://www.jacksonsart.com

STUART R STEVENSON – little shop with interesting selection of quality art materials and gilding supplies. Not cheap and not expensive, seems fair (family-run business)

68 Clerkenwell Road, London EC1M 5QA

020 7253 1693

http://www.stuartstevenson.co.uk

JOHN PURCELL PAPERS – haven’t been here for years but still hear the name bandied about so worth a try

15 Rumsey Rd, London SW9 0TR

020 7737 5199

http://www.johnpurcell.net

SHEPHERD’S BOOKBINDING INC FALKINER’S FINE PAPERS – great selection of handmade papers, marbled papers etc plus samples of any paper you can think of. You browse in paper sample catalogues then order. Sometimes full of edgy-looking design students but don’t be put off; the paper is really worth it. Not cheap but a lovely shopping experience in Victoria

30 Gillingham St, London SW1V 1HU

020 7233 9999

http://store.bookbinding.co.uk/store/

NATURAL HISTORY MUSEUM – go to their shop to stock up on agate eggs to use as cheap burnishers! And then go to their award-winning Vault and Minerals, Rocks and Gems section to see the real expensive things glittering in the dark.

Cromwell Rd, Kensington, London SW7 5BD

020 7942 5511

http://www.nhm.ac.uk

CORNELISSEN – to feel like you’ve stepped back in time into an old colourman’s shop. Can order unusual pigments too plus some gilding supplies. Near the British Museum. Expensive so go when you want the experience. If you don’t have money then you can just go admire the window displays

105A Great Russell St, Fitzrovia, London WC1B

020 7636 1045

https://www.cornelissen.com

SENNELIER in Paris Quai Malaquais – to feel like you’ve stepped back even further in time, the colour mixers used to wear lab coats and were like chemists. Can order pigments and then go and admire the Seine.

3 Quai Voltaire, 75007 Paris

+33 1 42 60 72 15

http://www.magasinsennelier.com

GREAT ART Kingsland Road - cheap cheap cheap! With huge selection of even special brands! Because it’s so huge, easy to get lost and spend ages here and end up buying loads (but that is true of all art shops I suppose); staff nice but not necessarily that specialist

41-49 Kingsland Road, London E2 8AG

020 3409 3131

http://www.greatart.co.uk

COWLING AND WILCOX – not that cheap but super convenient as practically opposite PSTA. Lots of people do last-min dashes here. Good selection of portfolios if you’re interested. Fair selection. Branches in Highbury and Camberwell as well as nearby Shoreditch one.

112 Shoreditch High Street, London E1 6JN

020 7033 3685

https://www.cowlingandwilcox.com

ATLANTIS ART MATERIALS – cheap and great selection of quality materials and special brands. Quite a huge store so again plan this trip in advance with a full wallet. Nice staff, sometimes a bit dazed and confused but they mean well (they are all artists).

Entrance On Bonhill Street; 16-28 Tabernacle St, London EC2A 4DD

020 7377 8855

http://www.atlantisart.co.uk

 

Online Collections of Miniature Paintings

For your convenience:

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• http://www.bl.uk/manuscripts/Default.aspx

• https://collections.vam.ac.uk/category/manuscripts/THES48922/

• https://www.si.edu and https://asia.si.edu/collections/

• https://library.harvard.edu/digital-collections

• https://viewer.cbl.ie/viewer/

• https://www.davidmus.dk/en/collections/islamic

• https://www.agakhanmuseum.org/collection and https://www.agakhanmuseum.org/collection/artifact/court-of-kayumars-akm165 (ok, because is my favourite painting!)

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MINIATURES MATERIALS LIST ALL IN ONE PLACE

Materials list for Practical Miniature Painting Online courses:

SOFTWARE AND DEVICES:

Up to date Internet browser to browse online painting collections

Laptop and smartphone with camera, microphone, headphones and internet connection to participate in the online class

Printer desirable

MATERIALS:

Paper: At least 2 x A3 OR A4 sheets of 300gsm hot-pressed watercolour paper (with very smooth surface) eg Fabriano or Bockingford brand (other brands are fine) and tracing paper

Ink: Chinese ink or Japanese sumi ink in either liquid form (cheaper) or solid ink sticks (more expensive) - for Water and Marbling courses Japanese sumi ink is essential

Optional: walnut ink, Indian ink, Persian ink, oak gall ink, iron haxink, any other inks and different colours of inks, gold ink

Inkstone for grinding solid ink sticks

Cotton wool balls

Paints: Set of artist-quality watercolours preferably in pan form rather than tube form (but tube is ok) to include ivory black and titanium white, zinc white, ultramarine blue, cadmium red, cadmium yellow (standard blues, reds and yellows) and then any other colours you like or are drawn to. Malachite, lemon yellow, Naples yellow, permanent magenta, dioxazine violet, dioxazine mauve, cadmium orange, cobalt blue, Indian yellow, cobalt turquoise light, French vermilion, cobalt violet, lemon yellow, Payne’s grey, permanent alizarin, permanent sap green, manganese blue, indigo if possible. Earth colours yellow ochre, gold ochre, green earth/terre verte, raw sienna, burnt sienna, raw umber and burnt umber preferably also Shell gold if possible

Black tea in tea bags, kettle, bowl, sponge for paper preparation - 1st session only

Starch (wheat, corn, potato, tapioca, rice – any) and access to cooker/hob plus whisk for paper preparation

Optional: natural dyes for Water course (onion skins, avocado, coffee, plants, berries, barks, roots)

Optional: pigment colours (eg malachite, azurite), gum arabic and empty clean shells for storage (eg mussel shells) TOOLS: Brushes: handmade brushes for painting in this style can be purchased online at https://www.theperfectbrush.co.uk/ or during the course with 10% discount for course students. Alternatively, you may use your own 000 (American 00000 – tiniest size) brushes that you currently paint with, plus larger size sable watercolour brushes up to size 5-6

Palette with wells to contain water-based paint, water pot

Drawing equipment: sharp HB pencils, erasers, sharpeners, rulers, ruling pen, masking tape - for Clouds course additionally string, pen, needle

English red or equivalent natural earth pigment for transferring (powder pigment) if possible

Burnisher or polished agate egg or smooth stone/pebble

Gilding (for Fire course): Water gold size (this the the 'glue' that the gold leaf adheres to)

Dedicated brush to apply the size

Gilder's cushion

Gildler's tip

Gilder's knife

Loose gold leaf (23.75 carat Renaissance Italian gold ie warm rich gold colour, I prefer ever so slightly reddish tinge rather than yellow/green but up to you), comes in a little square booklet - even after you've finished all the gold, keep this booklet. Transfer gold is also available and I have used it and some beginners find it easier to use, but I prefer the look, feel and finish of the traditional loose gold leaf. Yes the handling and manipulation take perhaps more time to get used to, but once it's learnt it's learnt.

Gilder's squirrel mop

Agate burnishers - the dogtooth one is a good standard shape but also good to have a larger size one for whole paper burnishing if possible

Kitchen roll/paper towels and rough paper, clingfilm

Sponges (washing up sponges, brand new), one per dye/colour for Water course (optional) and one for starch MDF board that you don’t mind ruining on which to stick paper

CLEAN FLAT SURFACE that you don't mind getting wet, eg the above MDF board or equivalent, as we'll use masking tape to tape the paper to so as not to destroy your tables… A3 or larger portfolio or sturdy folder to keep work safe and flat Protective Equipment: Optional: gloves, personal safety protection and equipment for pigments

OIL PAINTING Paints: Set of artist-quality oil paints to include ivory black and titanium white, zinc white, ultramarine blue, cadmium red, cadmium yellow (standard blues, reds and yellows) and then any other colours you like or are drawn to. Malachite, lemon yellow, Naples yellow, permanent magenta, dioxazine violet, dioxazine mauve, cadmium orange, cobalt blue, Indian yellow, cobalt turquoise light, French vermilion, cobalt violet, lemon yellow, Payne’s grey, permanent alizarin, permanent sap green, manganese blue, indigo if possible. Earth colours yellow ochre, gold ochre, green earth/terre verte, raw sienna, burnt sienna, raw umber and burnt umber preferably also

Brushes: Selection of round, filbert, flat, bright and fan brushes in range of sizes.

Large brush for priming canvas

Palette: Transparent plastic or glass palette, or alternatively tear-off palettes

Linseed oil (artist’s quality)

Turpentine (artist’s quality English distilled turpentine)

Olive oil soap or equivalent soap brush cleaner Optional: Artist’s white spirit to clean brushes; if not, you can also use turps.

Surfaces: Stretched canvas (cotton duck or linen), wood, copper, other surfaces

Optional: Acrylic or gesso primer for canvas if canvas is unprimed, canvas pliers, staple gun and staples if canvas is unstretched, oil primer

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OIL ON COPPER Materials List

YOU WILL NEED

• Oil paints!*

• Linseed oil

• Oil painting varnish

• This is the only smelly stuff: either turpentine, or artists’ white spirit, or Sansodor - a brush cleaner - and methylated spirits**

• Brushes: brushes are available here: https://www.theperfectbrush.co.uk - the Humours series is suited for oils and older Elemental brushes such as Rocks, Clouds and Water brushes, plus any brushes at all that you already own

• Surface: a bespoke copper painting surface we made that doubles up as a beautiful bookmark is available here: https://www.theperfectbrush.co.uk - this comes as a set with a wooden golden section composition guide stencil and a wood palette

• Rough paper or old newspapers and kitchen rolls

• Old towels or rags

• An apron (optional, I teach oil paints in a clean, non-messy way but you never know)

• A barrier cream for your hands (optional, you can also rub a dab of olive oil into your hands prior to painting)

• Sandpaper (fine grit)

• Tracing paper

• White chalk

• A mind so open it can encompass the whole universe

• A clove of garlic

*Oil paints in small tubes: definitely ivory black, titanium white, burnt umber, burnt sienna, raw umber, raw sienna, yellow ochre, ultramarine blue, cadmium red and cadmium yellow. You often find many of these as a set.

Then: phthalo green, phthalo blue, phthalo turquoise, magenta, permanent alizarin crimson, dioxazine violet or another cool purple, sap green, cobalt turquoise, cerulean blue, Payne’s grey, lemon yellow, Naples yellow, Mars or Venetian red, indigo, gold and silver and really any colour that takes your fancy!

Lastly, buy an extra titanium white as a large tube. It’s worth it.

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**aka meths, aka purple spirits, aka not for children, easily available in pharmacies/chemists/apothecaries. At a push, you could use vodka.

Wear clean white gloves and a mask.

 

HOW TO PREPARE YOUR PAPER

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Instructions I share in the Preparatory email I give to course students - if there are new students I take you through this process live:

 

HOW TO PREPARE YOUR PAPER

1. Boil water and make yourself a cup of black tea - except with 3-5 teabags of black tea and in a bowl, not a cup. I find cheap teas work well as they are full of tea dust and added tannins for colour! Plus don’t waste your expensive teas - actually drink them :-)

2. Prepare 2 sponges🧽 - one for the tea stain, one for the starch

3. Stick and stretch your A3 papers onto a board with masking tape - don't worry if you don't know how, as we can do this step together. Just gather the materials (papers, board, masking tape)

4. Set up your hob/cooker with a pan and a whisk (preferable) or fork and set aside your starch

5. Wear messy clothes. I forgot to tell you this right at the beginning, as I take it for granted that most of my clothes have some kind of art stain on them...

6. Use one sponge to wipe a thin layer of tea across your paper (do not immerse the sponge, just dip it so that only the surface is all wet with liquid and just wipe a thin layer)

7. Repeat the above but in a perpendicular fashion

8. Do as many layers of tea stain (or equivalent) that you like - has to be touch dry in between layers

9. While this is drying, make your starch. If you put a small amount of starch, say a teaspoon, then add an appropriate amount of water to make it milk like in consistency. Cook but do not boil. You want small little bubbles and not a rolling boil, more like a simmer. There will be a point where it changes chemically and becomes glue (size = glue) like in consistency. There is an extreme point of no return where it seizes up and there's no going back, and it becomes too thick to use, and gloopy and like Pritt stick. You don't want to go here! Keep it wet and liquid like PVA/children's white glue. You want to change it from the original milk like consistency to a double cream consistency. It will be more viscous in the pan and then you'll know it's ready.

10. Use the other sponge to wipe a thin layer of starch across your paper (do not immerse the sponge, just dip it so that only the surface is all wet with liquid and just wipe a thin layer)

11. Repeat the above but in a perpendicular fashion

12. Do minimum 2 layers, max 3 layers of starch - has to be touch dry in between layers

When your paper is bone dry (leave overnight), then burnish it the next day all over so it is all smooth. If you run your hand over it it will sound softer and more silent than an unburnished paper. You can also experiment with different paper dyes if you have time eg coffee, onion skin, avocado, turmeric, saffron and the whole rabbit hole of paper dyeing!

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Qadi Ahmad's Treatise on Painters and Calligraphers

in RESOURCES

Students often ask me about the sources for miniature manuscript painting technique. There aren't many and only 2 major works I can think of, also heavily biased towards calligraphy (the 'higher' art form). Some excellent info here on manuscript painters and calligraphers - Minorsky's translation of Qadi Ahmad's Painters and Calligraphers: http://www.islamicmanuscripts.info/reference/books/Qadi-Ahmad-Minorsky-1959-cali-paintrs.pdf

(Qāḍī Aḥmad, son of Mīr-Munshī (circa A.H. 1015/A.D. 1606))

Have a read. Scroll down to p. 198 for more painterly info. Not much info on actual practical technique and methods (for that you'll need a teacher and/or practice) but there is info on the materials, some a bit questionable today but there you go! All interesting.

 

Persian Recipes for Paper and Inks

in RESOURCES

This post was on the shorter public Facebook group, kindly posted by Mandana Barkeshli. The paper was researched and written by Mandana Barkeshli, Marinita Stiglitz and Sadra Zekrgoo. I am ever so grateful to them for providing this information! Enjoy the peacock ink recipe especially, and see if you can make this beautiful deep peachy pink dye (safflower plus alkaline) - I'll work on this too, maybe in summer when it's hotter.

https://www.bodleian.ox.ac.uk/about/libraries/our-work/conservation/persian-recipes?fbclid=IwAR2zvW4l8Q8-GXAPSMtXsY-AK6BREgsg18_v-EPpf_vQcoWrbW-TbcuNDig

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NAINSUKH Film Here

Here's the Rietberg Museum with a bit about its collection (and just keep scrolling for more art objects from around the world!) : https://rietberg.ch/en/stories/undefined

And... finally, watch Nainsukh for free here, courtesy of the museum: https://rietberg.ch/en/nainsukh