[Pramāṇa](https://indike.org/pramana/) › [Studies](https://indike.org/pramana/ins) › [Architecture and art](https://indike.org/pramana/ins.art) › [A History of Fine Art in India and Ceylon, from the Earliest Times to the Present Day](https://indike.org/pramana/ins.art.smith-1911) › c20.s2.4 # A History of Fine Art in India and Ceylon, from the Earliest Times to the Present Day c20.s2.4 A History of Fine Art in India and Ceylon, from the Earliest Times to the Present Day c20.s2.4 - **Language:** English ### [c20.s2.4](https://indike.org/pramana/ins.art.smith-1911.c20.s2.4) The four Muhammadans named are:—(1) Mīr Sayyid Ali, the illustrator of the story of Amīr Hamzah, whose work probably is represented by the two large pictures in B.M. Or. 3600 (\*ante\*, p. 468); (2) Khwājah Abdul Samad (\*ante\*, p. 452); (3) Farrukh the Qalmāk (Calmuck); and (4) Miskīn (\*ante\*, p. 464). Farrukh certainly deserves high praise. He contributed good work to the Clarke MS. of the \*Akbarnāmah\*, and was the author of a remarkable painting in three scenes occupying a full page on the reverse of folio 13 of B.M. Or. 3714. Miskīn, who drew the outlines of two pictures (1/117, 89/117) in the Clarke MS., seems to be identical with the Ustād (\*scil.\* 'Master') Miskīn who painted the Good Shepherd in the Johnson Collection and the Muhammad Miskīn, author of a lady's portrait in the same collection (LVIII, 15). Both those works are early in style. - [Previous: c20.s2.3](https://indike.org/pramana/ins.art.smith-1911.c20.s2.3) - [Next: c20.s2.5](https://indike.org/pramana/ins.art.smith-1911.c20.s2.5) - [Up: c20.s2](https://indike.org/pramana/ins.art.smith-1911.c20.s2) --- Source: [https://indike.org/pramana/ins.art.smith-1911.c20.s2.4](https://indike.org/pramana/ins.art.smith-1911.c20.s2.4) · Pramāṇa