Published Catalogue Text: In Harmony: The Norma Jean Calderwood Collection of Islamic Art , written 2013
65
Qaydafa Recognizes Iskandar from His Portrait
Recto: text and illustration, with title “Qaydafa recognizes Iskandar”
Verso: text
Aq Qoyunlu period, c. 1480
Folio: 34 × 21.5 cm (13 3/8 × 8 7/16 in.)
2002.50.21
Published: McWilliams 2002a, 14, fig. 8.
Queen Qaydafa was the ruler of Andalusia. She was wise, just, prosperous, and admired by her subjects. Upon hearing of the victories and success of Iskandar (Alexander the Great), she ordered her painter to gain surreptitious access to the eminent king, study him carefully, and produce a detailed, full-length portrait of him, to supplement the portraits of great rulers she already possessed. Following his conquests in the east, Iskandar sent Qaydafa a letter demanding her immediate and unconditional submission, which she refused. When Iskandar, disguised as his own messenger, appeared at her court, the queen recognized him and countered his denials of his royal identity with the portrait made by her artist. After the two conversed and recognized their mutual wisdom and talents, Iskandar returned to his land with gifts, having learned an invaluable lesson.
The illustration captures the moment when Iskandar, shown sitting on a golden seat in front of Qaydafa, sees his portrait. Even though the text calls for him to be in disguise as a messenger, he wears a crown like the one in the painting he is examining. The queen, in a golden diadem, gestures toward Iskandar from her large throne. The protagonists are surrounded by the queen’s female retinue, who peek at the painting and talk to one another. Although, according to the text, the episode takes place at the Andalusian court, the illustration has transformed the setting into a fifteenth-century Iranian or Central Asian palace.
Mika M. Natif
