gold, blue, green, black, light blue, pinky-purple, bronze, silver, red, white, purple, orangey-bronze

Ingredients

gold, silver

Preparation Steps

Original Recipe Text

The decoration across the 1368 Dīvān and the 1372 Mas̲navī is fairly consistent in palette (p. 229). The 1372 Mas̲navī is specifically noted as being dominated by gold and blue pigments, with light blue, green, black, red, purple, and orangey-bronze used in smaller quantities (p. 230). Silver pigment is specifically noted as being employed several times in the 1366 Mas̲navī-i Valadī and the first volume of the 1368 Dīvān (p. 233). White is used both for inscriptions and for enhancing the visibility of borders, strapwork, and knotwork (p. 229, 231).

Evidence

"The predominant pigments, gold and blue, are accompanied by smaller instances of green, black, light blue, pinky-purple, bronze, silver and red. White is used for inscriptions and for emphasising borders, knotwork and strapwork."

Remarks

The use of silver pigment is described as very unusual in Islamic manuscript illumination (p. 233). Priscilla Soucek suggests its presence might be derived from Armenian arts of the book (p. 233). The palette is described as relatively conservative and consistent across Sātī's manuscripts, providing a cohesive visual effect (p. 232, 239). The cost for copying and illumination of the 1368 Dīvān alone was 6,000 silver dirhams, indicating a high-status production (p. 245). The pigments are often applied in specific decorative motifs like eight-lobed roundels, half-palmette borders, and strapwork (p. 230).