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Chinese do and painted her with slanted eyes；” said Master Osman。
“Whoever she might be； my heart aches for this sad beauty； traveling the
steppe in the middle of the night acpanied by grim…faced foreign guards；
heading to a strange land and a husband she’s never seen；” I said。 Then I
immediately added； “How shall we determine who our miniaturist is from the
clipped nostrils of the horse she rides？”
“Turn the pages of the album and tell me what you see；” said Master
Osman。
Just then； we were joined by the dwarf whom I’d seen sitting on the
chamber pot as I was running to bring the volume to Master Osman； the
three of us looked at the pages together。
We saw strikingly beautiful Chinese maidens depicted in the style of our
melancholy bride gathered together in a garden playing a peculiar…looking lute。
We saw Chinese houses； morose…looking caravans heading out on long
journeys； vistas of the steppes as beautiful as old memories。 We saw gnarled
trees rendered in the Chinese style； their spring blossoms in full bloom； and
nightingales tipsy with elation perched on their branches。 We saw princes in
the Khorasan style seated in their tents holding forth on poetry； wine and love；
spectacular gardens； and handsome nobles； with magnificent falcons clutching
their forearms； hunting bolt upright astride their exquisite horses。 Then； it was
as if the Devil had passed into the pages； we could sense that the evil in the
illustrations was most often reason itself。 Had the miniaturist added an ironic
touch to the actions of the heroic prince who slew the dragon with his gigantic
lance？ Had he gloated at the poverty of the unfortunate peasants expecting
fort from the sheikh in their midst？ Was it more pleasurable for him to
draw the sad； empty eyes of dogs locked in coitus or to apply a devilish red to
the open mouths of the women laughing scornfully at the poor beasts？ Then
we saw the miniaturist’s devils themselves： These weird creatures resembled
the jinns and giants the old masters of Herat and the artists of the Book of
Kings drew frequently； yet the sardonic talent of the miniaturist made them
more sinister； aggressive and human in form。 We laughed watching these
terrifying devils； the size of a man yet with misshapen bodies； branching horns
and feline tails。 As I turned the pages； these naked devils with bushy brows；
round faces； bulging eyes； pointed teeth； sharp nails and the dark wrinkled
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skin of old men began to beat each other and wrestle； to steal a great horse
and sacrifice it to their gods； to leap and play； to cut down trees； to spirit away
beautiful princesses in their palanquins and to capture dragons and sack
treasuries。 I mentioned that in this volume； which had seen the touch of many
different brushes； the miniaturist known as Black Pen； who’d made the devils；
also drew Kalenderi dervishes with shaved heads； ragged clothes； iron chains
and staffs； and Master Osman had me one by one repeat their similarities；
listening closely to what I said。
“Cutting open the nostrils of horses so they might breathe easier and travel
farther is a centuries…old Mongol custom；” he said later。 “Hulagu Khan’s
armies conquered all of Arabia； Persia and China with their horses。 When they
entered Baghdad； put its inhabitants to the sword； plundered it and tossed all
its books into the Tigris； as we know； the famous calligrapher； and later；
illuminator Ibn Shakir fled the city and the slaughter； heading north on the
road by which the Mongol horsemen had e； instead of south along with
everyone else。 At that time； no one made illustrations because the Koran
forbade them； and painters weren’t taken seriously。 We owe the greatest
secrets of our noble occupation to Ibn Shakir； the patron saint and master of
all miniaturists： the vision of the world from a minaret； the persistence of a
horizon line visible or invisible； and the depiction of all things from clouds to
insects the way the Chinese envisaged them； in curling； lively and optimistic
colors。 I’ve heard that he studied the nostrils of horses in order to keep himself
moving northward during that legendary journey into the heartland of the
Mongol hordes。 However； as far as I’ve seen and heard； none of the horses he
drew in Samarkand； which he reached after a year’s travel on foot undaunted
by snow and severe weather； had clipped nostrils。 For him； perfect dream
horses were not the sturdy； powerful； victorious horses of the Mongols that he
came to know in his adulthood； they were the elegant Arab horses that he’d
sorrowfully left behind in his happy youth。 This is why for me the strange nose
of the horse made for Enishte’s book brought to mind neither Mongol horses
nor this custom the Mongols spread to Khorasan and Samarkand。”
As he spoke； Master Osman looked now at the book and now at us； as if he
could see only those things he conjured in his mind’s eye。
“Besides horses with clipped noses and Chinese painting； the devils in this
book are another thing brought with the Mongol hordes to Persia and thence
all the way here to Istanbul。 You’ve probably heard how these demons are
ambassadors of evil dispatched by dark forces from deep beneath the ground
to snatch away human lives and whatever we deem valuable and how they’re
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bent on carrying us off to their underworld of blackness and death。 In this
underground realm everything； whether cloud； tree； object； dog or book； has a
soul and speaks。”
“Quite so；” said the elderly dwarf。 “As Allah is my witness； some nights
when I’m locked in here； not only the spirits of the clocks； the Chinese plates
and the crystal bowls that chime constantly anyway； but the spirits of all the
rifles； swords； shields and bloody helmets grow restless and begin to converse
in such a ruckus that the Treasury bees the swarming field of an
apocalyptic battle。”
“The Kalenderi dervishes； whose pictures we’ve seen； brought this belief
from Khorasan to Persia； and later all the way to Istanbul；” said Master
Osman。 “As Sultan Selim the Grim was plundering the Seven Heavens Palace
after defeating Shah Ismail； Bediüzzaman Mirza—a descendant of
Tamerlane—betrayed Shah Ismail and together with the Kalenderis that
constituted his followers； joined the Ottomans。 In the train of the Denizen of
Paradise； Sultan Selim； as he returned through winter cold and snow to
Istanbul； were two wives of Shah Ismail； whom he’d routed at Chaldiran。 They
were lovely women with white skin and slanting almond eyes； and with them
came all the books preserved in the Seven Heavens Palace library； books left by
the former masters of Tabriz； the Mongols； the Inkhanids； the Jelayirids and
the Blacksheep； and taken as plunder by the defeated shah from the Uzbeks；
the Persians and the Timurids。 I shall stare at these books until Our Sultan and
the Head Treasurer remove me from here。”
Yet by now his eyes showed the same lack of direction that one sees in the
blind。 He held his mother…of…pearl…handled magnifying glass more out of habit
than to see。 We fell silent。 Master Osman requested that the dwarf； who
listened to his entire account as though to some bitter tale； once again locate
and bring him a volume whose binding he described in detail。 Once the dwarf
had gone away； I naively asked my master：
“So then； who’s responsible for the horse illustration in my Enishte’s
book？”
“Both the horses in question have clipped nostrils；” he said； “regardless of
whether it was done in Samarkand or； as I said； in Transoxiana； the one you’ve
found in this album is rendered in the Chinese style。 As for the beautiful horse
of Enishte’s book； that was made in the Persian style like the wondrous horses
drawn by the masters of Herat。 Indeed； it is an elegant illustration whose equal
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would be difficult to find anywhere！ It’s a horse of artistry； not a Mongol
horse。”
“But its nostrils are cut open like a genuine Mongol horse；” I whispered。
“It’s apparent that two hundred years ago when the Mongols retreated and
the reign of Tamerlane and his descendants began； one of the old masters in
Herat drew an exquisite horse whose nostrils were indeed cut open—
influenced either by a Mongol horse that he’d seen or by another miniaturist
who’d made a Mongol horse with clipped nostrils。 No one knows for certain
on which page in which book and for which shah it was made。 But I’m sure
that the book and picture were greatly admired and praised—who knows；
maybe by the sultan’s favorite in the harem—and that they were legendary for
a time！ I’m also convinced that