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Dust Muhammad (or Doust Muhammad) was a Persian painter of miniatures, calligrapher, and art historian, active from about 1510 to 1564. Later in life he worked in India.
After the death of Behzad, Muhammad left the Tahmasp court. According to some researchers, he was a nomad and he could no longer sit in the same spot. In the late 1530s he worked at the court of the ruler of Kabul, Kamran Mirza, brother of the Mughal emperor Humayun.
In the early 1560s, the court of the Mughal emperors was already under Emperor Akbar I, and Dust Muhammad left India and returned to Iran. He lived out the last days in Qazvin. The exact date of his death is unknown.
Dust Muhammad in the first chapter is known as the author of an essay on Persian painting. In the years 1544–45, he wrote a treatise on calligraphers and artists. This work is extant in the muraqqa of calligraphic designs and miniatures, known as the "Album of Bahram Mirza", which is stored in the library of the Topkapı Palace Museum in Istanbul.
The first nineteen sheets album as a preface is a treatise Dust Muhammad, written by beautiful handwriting, probably belonging to the author. In addition to the Treaty on the album are three more works Dust Muhammad - two miniatures with the caption "Master Dust" and calligraphic passage, signed "Douste-Muhammad Musavvir" (the artist).
Treatise written in the Persian language, includes an introduction to the origin of the letter, the head of the masters of handwriting "taʿliq" and "nastaʿlīq", a section on the history of art and its masters, and especially - the information about the court artists and calligraphers of Bahram Mirza. Despite the confusion of mythical and historical names, the history of painting the picture painted by Dust Muhammad is of considerable interest. His writing provides a clear allusion to the existence of a religious ban images of living beings, and at the same time on the relativity of this prohibition. In his treatise Muhammad does not touch any problems the art of painting, nor any of its equipment. The value of this work lies in the extensive knowledge of the life and work of Persian artists of the 14th to 16th centuries.
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