SCP-4590

Info SCP-4590: The Manicheans Have the Paintings

Author: Tufto. More of Tufto's work can be found here.

Image: The image is in the public domain, and can be found here. rating: +48 + – x

SCP-4590-5, in a pose identical to that of the original painting.

Item #: SCP-4590

Object Class: Safe

Special Containment Procedures: All SCP-4590 instances are to be kept in a secure storage locker in Site 736. Regular interaction and communication between Foundation personnel and SCP-4590 instances is encouraged, in order to improve the instances' mental state.

Description: SCP-4590 is a series of 7 anomalous Persian miniatures, all painted between the 13th and 19th centuries CE. Each painting is animated, with the figures and animals portrayed within demonstrating an ability to move within and fundamentally alter the picture.

SCP-4590 instances are typically copies of other works from the period, painted with varying degrees of skill. Only SCP-4590-5 is an exact copy of its model. In all cases, a caption or note written on the back of the miniature will explain the work by relating it to an Islamic or ghulāt group's mythology.

SCP-4590 instances all demonstrate varying degrees of sapience. They are all able to discuss a variety of theological and artistic topics in detail. They are aware of their nature as paintings, describing themselves as "illustrations" or "lessons".

Instances can be communicated with by writing on their surface. This does not damage or irrevocably alter the painting, as each instance is capable of altering its appearance at will. The only language recognised by most instances is New Persian; however, SCP-4590-5 has occasionally responded to Middle Persian.

Initially, SCP-4590 instances demonstrated only limited animation. The people and animals portrated would occasionally alter their positions, but no signs of sapience were evident. An attempt on 08/09/2004 to communicate with SCP-4590-3, however, provoked an immediate and positive response, resulting in SCP-4590-3 repeatedly performing its "scene" and writing detailed explanations of the Safavid order's ideology.

SCP-4590 instances have been created by a variety of different groups and individuals. All of these appear to have some relation to Sufi groups or ghulāt sects. It is believed that SCP-4590 instances were created through a now-lost technique designed to perform takwin .

All known SCP-4590 instances were recovered in the 19th century by the Foundation operative and Orientalist John Callaghan. Callaghan is believed to have taken the miniatures from a variety of albums found in Herat, Qazvin and Tabriz. Although a large number of other instances are believed to have once existed, the unclear nature of Callaghan's notes and the control of Iran's anomalous marketplaces by the ORIA has forestalled any further discoveries. Despite this, testimony from SCP-4590 instances indicates that the technique of their creation was known from at least the early Sassanid era onwards.

The following table documents the nature of the SCP-4590 instances recorded to date.

Item Year of creation (CE) Description Behaviours observed SCP-4590-1 c. 1290 Highly detailed and faithful copy of an Ilkhanid-era miniature portraying the Mi'raj . Caption on reverse describes it as showing the Iranian mystic Rumi leaving his hometown of Balkh with his family. The instance will frequently alter itself to show the Rumi/Muhammad figure moving through a variety of Iranian, Levantine and Turkish cities. Instance will frequently discuss Sufi theology and recite poetry; researchers frequently report its personality as "detached" and "dreamlike". SCP-4590-2 c. 1410 Faithful copy of an Ilkhanid-era miniature portraying the Battle of Karbala. Caption on reverse describes it as depicting the Hurufi uprisings of the 1390s. When interacted with, the figures within the painting appear highly elated, recreating the Hurufi uprising several times over. SCP-4590-3 1529 Faithful copy of a miniature by Behzad depicting a battle of Alexander the Great. Caption on reverse describes it as Shah Isma'il I leading a cavalry charge in the Battle of Marv against the Uzbeks. Similar behaviours to SCP-4590-2, but the figure of Isma'il will frequently leave the battle, and the instance will discuss theological concepts concerning Qizilbash Islam with the communicator. SCP-4590-4 c. 1594 Highly faithful copy of a miniature by Sultan Muhammad depicting earthly and human types of drunkenness. Caption on reverse describes it as a Nuqtavi representation of the different stages of spiritual transcendence. Instance will discuss Nuqtavi and gnostic theology, interspersed with bitter invectives against the Safavid king Shah Abbas, who suppressed the Nuqtavi sect in Iran. SCP-4590-5 c. 1640 Exceptionally faithful copy of a painting of a Georgian prince by Reza Abbasi. Caption on reverse describes it as a picture of the Prophet Mani, the 3rd century founder of the Manichean religion. By far the least responsive instance, rarely replying to communications and never more than a curt or dismissive statement. The figure portrayed spends most of its time painting scenes from Manichean cosmology. SCP-4590-6 1799 A poor copy of a miniature of unknown provenance from the early 18th century, which portrays a scene of two mystics discussing poetry, separated by a wall. Caption on reverse describes it as showing Shah Ni'matullah in Iran and his son Shah Khalilullah in the Deccan, demonstrating the continuity of spiritual lineage despite physical division. Instance will discuss theology in broken Persian. It is under the impression that the Sufi revival of early Qajar Iran is still ongoing, and does not seem to understand statements which contradict this. SCP-4590-7 1849 Inaccurate copy of a 17th century miniature by Safi Abbasi depicting the Battle of Chaldiran. Caption on reverse describes it as the Bab's eventual victory over the Qajar dynasty. Instance writes in clearer Persian than SCP-4590-6, but still uses much simpler language than earlier instances. Figures demonstrate a level of aggression, bloodlust and zealotry which does not resemble the actual Babi movement.

The following is a segment of an interview with SCP-4590-4, as a sample of the type of dialogue SCP-4590 instances typically engage in.

Date: 05/08/2007 Interviewer: Dr. Hans Olivier <Begin Log> SCP-4590-4: And that why the very name of Mahmud symbolises a greater purity from Muhammad. In the same way that all are purified, so too are the prophets of the age, becoming ever more perfect and thus revealing ever greater truths. Several of the figures nod at this. Dr. Olivier: Thank you, pir. This has been most illuminating, as ever. But I wanted to ask you about something else- about how you came to be. About how this painting is able to speak. SCP-4590-4: Do you not know the story of Mani the painter, child? Dr. Olivier: You mean the Prophet Mani? SCP-4590-4: Yes, indeed. The great painter! I do not know whether he was a true prophet or false, but he is the one who first discovered the secret of takwin, of the creation of life. The tale has been denied over and over by those who fear this hidden truth of ajami knowledge- even by Ferdowsi , who recorded so much for posterity. But it was indeed Mani who performed this feat. Dr. Olivier: Do you know how? SCP-4590-4: I do not. Much has been lost, but much will be revealed again, when the age of Ajami rule is inaugurated, when the promised king is placed on the throne. We simply got the dates wrong. That is all. We just did not know the dates. Several of the figures can be seen weeping, and drinking profusely. Dr. Olivier: Do you not wish to speak of this? SCP-4590-4: I am perfectly happy to do so. We are proud to be here, being what we are. A purified form of older spirit and matter merged together again, through the doctrine of tanasukh . We are happy to be here. We are happy to educate. The weeping and drinking has intensified. SCP-4590-4: But I think we would like to rest. <End Log>

Addendum 1: On 02/03/2019, several nooses appeared on SCP-4590-7, descending from the top of the page. The figures in the painting then all attempted to hang themselves. After 12 seconds, the nooses disappeared and the figures fell to the floor, visibly weeping. SCP-4590-7 was unresponsive to communication, immediately erasing any words written on it for the next seven days. Thereafter, it has been responsive but has displayed its usual behaviour, claiming no knowledge of the incident.

Notably, SCP-4590-5 was seen to be visibly distressed during this incident. Attempts to communicate with it are to be renewed.

Addendum 2: The following is the most extensive communication to date with SCP-4590-5, shortly following the above incident.