"Shaikh San'an beneath the Window of the Christian Maiden", Folio18r  from a Mantiq al-tair (Language of the Birds), Farid al-Din `Attar (ca. 1142–1220), Opaque watercolor, silver, and gold on paper

"Shaikh San'an beneath the Window of the Christian Maiden", Folio18r from a Mantiq al-tair (Language of the Birds)

Farid al-Din `Attar (ca. 1142–1220)
Sultan `Ali Mashhadi (ca.1440–1520)
Object Name:
Folio from an illustrated manuscript
ca. 1600
Made in Iran, Isfahan
Opaque watercolor, silver, and gold on paper
Painting: H. 2 7/8 in. (7.4 cm)
W. 4 1/2 in. (11.4 cm)
Page: H. 13 in. (33 cm)
W. 8 1/2 in. (21.6 cm)
Mat: H. 19 1/4 in. (48.9 cm)
W. 14 1/4 in. (36.2 cm)
Credit Line:
Fletcher Fund, 1963
Accession Number:
Not on view
This Safavid illustration depicts a scene from a famous story of Shaikh San'an that is often illustrated in other manuscripts of the Mantiq al-Tayr. The story is as follows: A celebrated shaikh named San'an went from Ka'ba to Greece and fell in love with a Christian maiden. At her suggestion, he became a Christian and even looked after swine, which are considered unclean in Islam. When his disciples heard about this, they came to Greece and prayed to God that Shaikh San'an would return to the right path. Due to the disciples' prayers, he revived his Muslim faith and returned to his home in the Hijaz. Then, repenting of her deed, the Christian maiden followed him and converted to Islam. Shaikh San'an sensed that she had true faith in Islam and turned back to seek her with his disciples. When she saw Shaikh San'an, she fainted and this made him cry. Later, when the Christian maiden recovered consciousness, she begged his pardon and died.
The text on this folio illustrates the moment at which Shaikh San'an loses belief in Islam and ignores his disciples' remonstrances. He gazes at the Christian maiden, who stands on a balcony, as his disciples talk to each other with perplexed expressions. The illustration incorporates several Timurid elements; the style of inscription band on the building seems to be inspired by that on the lower part of the Timurid building depicted in folio 63.210.28r. A red fence surrounding a garden was also a popular motif in the Timurid period. However, the style of the building and the maiden's clothing are typical of the Safavid period.
Signature: Signed and dated in colophon: Sultan Ali al-Mashhadi

Marking: Seal on gold ground at top: Shah Abbas; Word "waqf" beneath seal.
Shah Abbas I, Isfahan, Iran (ca. 1600–1608; presented to Ardebil Shrine); Ardebil Shrine, Iran (ca. 1608–sack of Ardebil, 1826); M. Farid Parbanta(until 1963; sale, Sotheby's, London,December 9, 1963, no. 111, to MMA)
New York. The Metropolitan Museum of Art. "Princely Patrons: Three Royal Manuscripts of the Timurid Dynasty," March 4, 1995–June 4, 1995, no catalogue.

New York. The Metropolitan Museum of Art. "Rumi," October 15, 2007–March 5, 2008, no catalogue.

Swietochowski, Marie. "The historical background and illustrative character of the Metropolitan Museum's Mantiq al-Tayr of 1483." In Islamic Art in The Metropolitan Museum of Art, edited by Richard Ettinghausen. New York: The Metropolitan Museum of Art, 1972. p. 48, ill. fig. 7 (b/w).

Swietochowski, Marie, and Richard Ettinghausen. "Islamic Painting." Metropolitan Museum of Art Bulletin, n.s., vol. 36, no. 2 (Autumn 1978). p. 23, ill. p. 23 (color).

Sims, Eleanor, B. Marshak, and Ernst J. Grube. "Persian Painting and its Sources." In Peerless Images. New Haven and London: Yale University Press, 2002. no. 98, p. 185, ill. p. 185 (color).

Kamada, Yumiko. "An Illustrated Manuscript of Mantiq al-Tayr in the Metropolitan Museum of Art." Orient vol. XLV (2010). pp. 143-144, 171, 174, ill. fig. 7.