COULD THE GRUFFALO BE A DESCENDANT OF MEHMET SIYAH KALEM’S DEMONS?
Mehtap Özer Isović
2 May, 2026
In a video produced by the National Gallery in London, the renowned Gruffalo illustrator Axel Scheffler examines the fifteenth-century Spanish artist Bartolomé Bermejo's Saint Michael Triumphs over the Devil.
https://commons.wikimedia.org/wiki/File:Bermejo-Miquel.jpeg
Reflecting on his own creative process, Scheffler notes that, “When I drew The Gruffalo, I was actually thinking of medieval descriptions of monsters. I was always fascinated by illuminated manuscripts and medieval paintings. I discovered many horned, furry beasts with big teeth. So, I think I subconsciously have thought about this image of a monster…”
https://commons.wikimedia.org/wiki/File:Bermejo-Miquel.jpeg https://en.wikipedia.org/wiki/The_Gruffalo#/media/File:Fairuse_Gruffalo.jpgThe beast in the late Gothic period artist Bermejo’s painting is one that is composed of mismatched parts of different animals: snakes for arms, moth-like wings, a dragon’s tail, etc. And it wouldn’t be wrong to say that the painter’s imagination had been fuelled by the biblical descriptions of the devil as both a serpent and a dragon when he used his artistic freedom to represent evil in his painting.
I had been also convinced that that slain beast in Bermejo’s painting provides a compelling precedent for Scheffler’s illustration until... I had a closer look at Mehmet Siyah Kalem’s fifteenth-century illustrations of demons that reveal an even more striking visual parallel.
2https://en.wikipedia.org/wiki/Siyah_Qalam#/media/File:Siyah_Qalem_-_Hazine_2153,_s.48b.jpg
For those who haven’t met Mehmet Siyah Kalem yet, here is a quick introduction:
Mehmet Siyah Kalem (meaning "Mehmet of the Black Pen") is the enigmatic attribution given to a master artist—or perhaps a workshop of artists—active during the 14th or 15th century. His true identity, exact birthdate, and life story remain one of the greatest mysteries in Islamic and Central Asian art.
He is celebrated for a surviving collection of highly distinctive ink and gouache illustrations. Siyah Kalem's work is the total opposite of the polished, idealized scenes of traditional Islamic miniatures. He captured the harsh realities of nomadic life, depicting wandering dervishes, shamans, camp life, and—most famously—vivid, expressive, and grotesque demons. And that’s where the conceptual lineage of the Gruffalo appears to take an unexpected direction for me. Here is why?
Well, when I saw the above illustration by Mehmet Siyah Kalem, I was dumbfounded by the remarkable morphological similarities between the demon in it and Axel Scheffler’s Gruffalo character. Here are the major ones I can quickly list:
1 Bipedal, Anthropomorphic Stance:
Despite their monstrous appearances, both figures are bipedal and humanoid in their posture. The Siyah Kalem demon stands upright and grasps a staff with human-like hands, similar to the Gruffalo's upright, anthropomorphic mobility.
2 Prominent Horns:
Both the Siyah Kalem demon in the illustration and the Gruffalo feature distinct, curved horns protruding from the top of their heads.
3 Protruding Tusks and Teeth:
The demon in the image is depicted with sharp, prominent teeth and tusks extending outward from its jaw. This visually matches the Gruffalo's iconic "terrible tusks" and "terrible teeth."
4 Sharp Claws:
The Siyah Kalem illustration clearly shows the figure with distinct, curved claws on its fingers and toes, closely paralleling the Gruffalo's "terrible claws" and "turned-out toes."
5 Large, Animalistic Ears:
Both creatures possess prominent, outward-facing ears that blend humanoid anatomy with that of a forest beast.
6 Dark, Coarse Texture:
The demon is rendered with a dark, heavily textured body that implies a thick, rough hide or coarse fur. The Siyah Kalem technique relies on expressive, colorless line work to emphasize this harsh realism. This visual texture mirrors the Gruffalo's thick, brown, furry body.
7 Intense, Glaring Eyes:
The demon is drawn with stark, intense eyes that dominate its upper face, resembling the focused glare of the Gruffalo's distinct "orange eyes."
8 Composite Monstrosity:
Siyah Kalem’s demons are supernatural entities that blend human traits with animalistic features drawn from Central Asian Shamanic and Buddhist iconography. The Gruffalo is similarly designed as a composite monster, made up of various fearsome animal parts (such as a bear's body, a buffalo's horns, and a reptile's tongue) combined into a single creature.
However, given that both Bermejo and Siyah Kalem were active in the fifteenth century the shared monster representations could be simply explained by the circulation of shared mythological folklore and demonic archetypes that travelled between the East and West.
Of course, there is currently no evidence that Scheffler has ever seen Siyah Kalem’s illustrations or that he directly referenced them. Nevertheless, the uncanny resemblance between the vivid, grotesque demon of the Silk Road and the beloved modern children's book character remains a fascinating visual mystery to me—highlighting the enduring nature of artistic archetypes across centuries.








