never been concretely proven. Several Persian historical accounts refer to () , often shortened to (). Annemarie Schimmel translated this term as 'clouded paper' in English. While Sami Frashëri claimed in his Kamus-ı Türki, that the term was "more properly derived from the Chagatai word " (); however, he did not reference any source to support this assertion. In contrast, most historical Persian, Turkish, and Urdu texts refer to the paper as alone. Today in Turkey, the art is commonly known as , a cognate of the term first documented in the 19th century. In Iran, many now employ a variant term, (), meaning 'cloud and wind' for a modern method made with oil colors. The art first emerged and evolved during the long 16th century in Persia and Transoxiana then spread to the Ottoman Turkey, as well as Mughal and the Deccan Sultanates in India. Within these regions, various methods emerged in which colors were made to float on the surface of a bath of viscous liquid mucilage or size, made from various plants including fenugreek seed, onion, gum tragacanth (astragalus) and salep (the roots of Orchis mascula), among others. A pair of leaves purported to be the earliest examples of this paper, preserved in the Kronos collection, bears rudimentary droplet-motifs. One of the sheets bears an accession notation on the reverse stating "These abris are rare" () and adds that it was "among the gifts from Iran" to the royal library of Ghiyath Shah, the ruler of the Malwa Sultanate, dated Hijri year 1 Dhu al-Hijjah 901/11 August 1496 of the Common Era. Approximately a century later, a technically advanced approach using finely prepared mineral and organic pigments and combs to manipulate the floating colors resulted in comparatively elaborate, intricate, and mesmerizing overall designs. Both literary and physical evidence suggests that before 1600, a Safavid-era émigré to India named Muḥammad Ṭāhir developed many of these innovations. Later that century, Indian marblers combined the technique with stencil and resist masking methods to create miniature paintings, attributed to the Deccan sultanates and especially the city of Bijapur in particular, during the Adil Shahi dynasty in the 17th century. The earliest examples of Ottoman marbled paper may be the margins attached to a cut paper découpage manuscript of the () by the poet Arifi (popularly known as the ['Ball and Polo-stick']) completed by Mehmed bin Gazanfer in 1539–40. Recipes ascribed to