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Source: Miracles in Miniature by Christine Thompson
Despite knowing some examples, my first real encounter with miniature was through two significant books of Levnî : Surname-I Vehbi (1720) – depicting a 15 days fest dedicated to the circumcision of 4 sons of Sultan III. Ahmet – and Silsilename that is consisted of Sultan portraits. What fascinates me in miniature is the use of space: there is no perspective, and the scenes are layered on top each other. Therefore, the notion of time functions differently.
Entering the class of Imran Qureshi demands a certain pace. Here, every movement is labor-intensive and requires concentration. The timing of miniature is like being in a meditative state, as the co-teacher of the class Hammad Gillani told. Although we’re just in the second day, I can totally relate to what Gillani means.
During the process of preparing the material, silence and patience is necessary. Pens are sharpened with a knife and chafed on a sand paper to have a needle like pen point. Flour is slowly boiled with water to get the glue, which will be used for the paper. The quill of pigeon feather is removed to prepare the brush. The top of the quill is cut and the membrane is cleaned out. The top end is empierced with a needle so that the feather can be stuffed through. Imran Qureshi mentioned the importance of brush for fine-line working. Through time, brush takes a certain shape according to the gestures of the painter.
Later, 4 layers of 120-150 gr. drawing paper are aligned together. The glue is applied on top. Pressuring with hands is crucial to take out the extra glue. Stripes of newspaper are used to fix the paper on a table to avoid corner bumps after drying.
Imran Qureshi, And They Still Seek the Traces of Blood, 2013, Installation Detail Photo: Haupt&Binder
There is something poetic in miniature, indeed – Levni was a poet as well. I recall an installation of Qureshi inspired by poet Faiz Ahmed Faiz's quote: And They Still Seek the Traces of Blood (2013) that finely drawn flowers remind blood.