INTRODUCTION - PAPER DYES

The increasing demand for inscribing books on paper led paper makers from the mid-Hijri centuries onwards, including those in the Timurid (1370–1507 A.D.) and Safavid (1501–1736 A.D.) to Qajar (1785–1925 A.D.) eras, to focus more on the aesthetic aspects of paper-making. This resulted in the production of various artistically colored papers.

During this period, Persian master artists introduced several paper dyes to create a suitable support for their calligraphies and paintings. This included dyed or marbled papers, as well as papers flecked with gold or silver (Barkeshli 2008, 2016). Several treatises discussing the methods of paper dyeing during the studied periods have survived and remain accessible to us today.

The Reason Behind Dying Paper

Historical sources from this time up to the Qajar period (1785–1925 A.D.) reveal that books were generally made of dyed paper. Beyond aesthetic aspects, the effect of the paper was an important factor. While white paper was considered harmful to the eyesight, dyed paper was deemed to exert less strain on the eyes.
In his famous treatise entitled Golzār-e Ṣafā, Ṣeyrafī, a renowned expert of the Safawid period, writes:

کاغذ ار رنگ کنی خوبتر است  کز سفیدی به بصر صد ضرر است

ضرر چشم پسندیده مدان      خامه بر کاغذ بی رنگ مران

رنگ کن کاغذ زیبا ز نخست  تا بود خط تو و چشم درست

از تو چون زین هنری می جویم    بهر تو مختصری می گویم

Dyed paper is superior,
For white surely harms the eyes a hundredfold,

It's unwise to strain the eyes,
Best to avoid uncolored paper, be wise,

First, dye the paper to its beauty,
Let your hands and eyes stay fine and duty,

Since I foresee you scaling artful heights,
I provide this text, a gift for your artistic lights.

Relation of Paper’s Colour and Ink:

References to the relation between the colours of the paper and the ink can also be found in historical treatises. Soltān Ali Mašhadi writes in his Ṣerāt al-Ṣoṭur (920 A.H. 1514 A.D.):  

چشم را رنگ سرخ و زرد و سفید    خیره سازد چو دیدن خورشید

بهر خط نیمرنگ می باید     تا از او دیده ها بیاساید

رنگهایی که تیره رو باشد   خط رنگین بر او نکو باشد

کاغذ سرخ را سفید نویس    تا نماید خط تو خوب و نفیس

کاغذی کان کبود رنگ بود   از سفیداب دلپسند بود

Eyes, captivated by red, yellow, and white,
Like gazing upon the sun, a dazzling light.

For calligraphy, choose hues that soothe,
Temperate colors, eyes in their groove.

Dark paper embraces colored lines with grace,
Write on red with white, elegance to embrace.

On blue paper, let white ceruse gleam,
A pleasing contrast, like a beautiful dream.

 

In "Favāyed al-ḵoṭuṭ" (995 A.H. / 1587 A.D.) by Mohammad Ibn-e Dust Mohammad Boḵāri, other harmful colors are listed:

چشم را رنگ سرخ و سبز و سفید    خیره سازد چو دیدن خورشید

ماوی سیر و سوسنی با هم    چشم را تیره سازد و پر نم

Eyes, dazzled by red, green, and white gleam,
Like gazing at the sun, a radiant beam.

Mauve and iris combined, a visual dance,
Straining the eyes, a tearful trance.

General Techniques of Dyeing Paper

Paper was colored using natural dyes consisting of organic compounds soluble in solvents. Dyeing techniques can be categorized into three groups:

  1. Direct dyeing: In this method, as seen in henna, dyes bond to the surface of fibers.

  2. Vat dyeing: This technique, exemplified by indigo, involves immersing the material in a dye vat.

  3. Mordant dyeing: In processes like brazilwood dyeing, mordants (metallic ions) are used to chemically bind the dye to the fiber. Mordants also play a crucial role in determining the final color.

Most paper dyeing techniques were applied to unsized paper, as soaking a sheet in a dye solution or marbling would remove the sizing. These papers were sized after dyeing, followed by polishing.

Classification of Dyes

Five of the examined treatises classify the colors used for dyeing paper into two categories: primary (mofradāt) and secondary (morakabāt). Primary colors include yellow (zard), red (sorḵ), safflower red (āl), blue (kabud), verdigris green (zangārī), natural/flesh (ḵodrang), henna (hanā’ī), peach (šaftālu), and straw (kāhī), while secondary colors comprise black (ʿudī), green (sabz), pink (golgun), farise green (fariseh), orange (nārenjī), iris (susanī), and malachite green (marmarī).