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Abd al-Samad
'Abd al-Samad (meaning "Slave of the Eternal"〔Brend, 230. Several variant transliterations may be used. See Abdul Samad (name) for the many other people using this name.〕) or Khwaja Abdus Samad was a 16th-century painter of Persian miniatures who moved to India and became one of the founding masters of the Mughal miniature tradition, and later the holder of a number of senior administrative roles. He is referred to as "of Shiraz", in modern Iran. Samad's career under the Mughals, from about 1550 to 1595, is relatively well documented, and a number of paintings are attributed to him from this period. From about 1572 he headed the imperial workshop of the Emperor Akbar and "it was under his guidance that Mughal style came to maturity".〔Grove〕 It has recently been contended by a leading specialist, Barbara Brend, that Samad is the same person as Mirza Ali, a Persian artist whose documented career seems to end at the same time as Abd al-Samad appears working for the Mughals.〔Brend, 213〕
==Mirza Ali==
Mirza Ali's name first appears in a famous manuscript of the ''Khamsa of Nizami'', now British Library Oriental 2265, which is dated March 1543.〔Brend, 213–214〕 According to Stuart Cary Welch, there are only three other mentions of him in contemporary records. These say that he was the son of another leading artist of the court workshop, Sultan Muhammed, and so grew up in the milieu of the court atelier, and was a distinguished painter. Kamal of Tabriz is recorded as a pupil of his.〔Brend, 214〕 The inscriptions in BL Or. 2265 are among the main sources for attributing Persian miniatures of the period. Six painters are named, and although the inscriptions are additions rather than signatures, they have been generally accepted as correct. Mirza Ali's name is inscribed on two miniatures, both courtyard scenes, and his father's on one, to which Welch adds two more un-inscribed miniatures.〔Brend, 214–215; Welch, attributions to Sultan Muhammed: Plates 21 (old woman complaining, his attribution), 25 ("Shirin Bathing", inscribed), and 32/33 (Mi'raj, his attribution). See also Titley, 84–85〕
Welch further attributes several earlier miniatures to Mirza Ali, including six from Shah Tahmasp's ''Shahnameh'' manuscript of the 1520s; Brend is sympathetic to at least two of these attributions, but finds two unlikely, in terms of agreement with the style of the later works.〔Brend, 216〕 After considering some other isolated works, with mixed verdicts on his attributions, she firmly parts company with Welch over his attributions to Mirza Ali of six miniatures in another famous manuscript, the ''Haft Aurang'' made for Prince Ibrahim Mirza in 1555–56 (now Freer Gallery of Art), after he should, if he were indeed also Samad, have left for Afghanistan and then India. Welch admits that the style of these paintings is different, but attributes this to a change in the spirit of the times, an explanation Brend finds hard to accept,〔Brend, 218〕 although the attributions are repeated by other scholars writing after Brend's paper; Sheila S. Blair finds they display "the artist's increasing spirituality and mannerism".〔Blair, Sheila S. in ''Mirza ‛Ali'', in Oxford Art Online.〕 After discussing other aspects of the question, and comparing the styles of Mirza Ali and Samad, Brend suggests that they are indeed the same artist, who adopted a soubriquet on moving to a new country.〔Brend, 232 and preceding pages〕 Stylistic similarities include the layout of courtyard compositions and the arrangements of colour, details like a fondness for the virtuosic depiction of grilles and open-work screens, and similar treatment of figures.〔Brend, 225–230〕
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