Abu'l-Hasan (artist) - Revision history

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{{Use dmy dates|date=October 2018}}
{{Use Indian English|date=October 2018}}
[[File:1 Daulat. Portrait of Abu'l Hasan. From the Gulshan Album, ca. 1610, Golestan Palace Library, Tehran.jpg|thumb|Portrait of Abu al-Hasan by [[Daulat (Mughal painter)|Daulat]] from the [[Gulshan Album]] (c. 1610)]]
'''Abu'l-Hasan''' (or '''Abu al-Hasan''') (1589 – c. 1630), from [[Delhi]], India, was a [[Mughal painter]] of [[miniature (illuminated manuscript)|miniatures]] in the reign of [[Jahangir]].

== Biography ==
Abu al-Hasan was the son of [[Reza Abbasi|Aqa Reza]] of [[Herat]] in [[Safavid Iran]], a city with an artistic tradition. [[Reza Abbasi|Aqa Reza]] was established as an artist and took up employment with [[Jahangir]] (r. 1605-1627) before the latter's accession to the throne of the [[Mughal empire]].<ref name=":2">{{Cite web|title=b1048212 1|url=https://libmma.contentdm.oclc.org/digital/collection/p15324coll10/id/114935|access-date=2021-05-13|website=libmma.contentdm.oclc.org|language=en}}</ref> When Abu al-Hasan began producing art, the [[emperor]], Jahangir, appreciated the skills of the boy.<ref name=":0">{{Cite book|last=Beach|first=Milo Cleveland|url=http://dx.doi.org/10.1017/chol9780521400275|title=Mughal and Rajput Painting|date=1992-09-24|publisher=Cambridge University Press|isbn=978-0-521-40027-5}}</ref> In 1599, Abu al-Hasan moved with Jahangir to his newly founded court in [[Allahabad]].<ref name=":1">{{Citation|title=1600–1660: Mughal painting and the rise of local workshops|date=1992-09-24|url=http://dx.doi.org/10.1017/chol9780521400275.006|work=Mughal and Rajput Painting|pages=68–156|publisher=Cambridge University Press|isbn=978-0-521-40027-5|access-date=2021-05-13}}</ref>

The emperor considered Abu al-Hasan to be particularly special to him and under his care.<ref name=":2" /> This is because although Abu al-Hasan’s artwork was similar in many ways to his father’s with [[Dutch art|Dutch]] and [[English art|English]] influence, it was considered to be of a higher quality similar to that of older masters in the field.<ref name=":2" /><ref name=":0" /> Jahangir said of Abu al-Hasan that he had no equal and for the work done on the frontispiece for his memoires, the emperor bestowed the title ''Nadir-uz-Saman'' ("Wonder of the Age") on Abu al-Hasan in 1618.<ref name=":5">{{Cite web|url=https://www.metmuseum.org/art/collection/search/76199|access-date=2021-05-21|website=www.metmuseum.org}}</ref>

Abu al-Hasan's main task was the documentation of events at the imperial court, which resulted in many portraits being completed. [[Portrait]]s were the hallmark of Jahangir’s rule.<ref name=":12">{{Citation|title=1600–1660: Mughal painting and the rise of local workshops|date=1992-09-24|url=http://dx.doi.org/10.1017/chol9780521400275.006|work=Mughal and Rajput Painting|pages=68–156|publisher=Cambridge University Press|isbn=978-0-521-40027-5|access-date=2021-05-13}}</ref> Not many of Abu al-Hasan's paintings survived, but those that identify him as the artist show that he also worked on a range of subjects, including some everyday scenes<ref name=":4">{{Cite journal|last=Potter|first=Polyxeni|date=September 2009|title=Never Has There Been a Shade1|url=https://www.ncbi.nlm.nih.gov/pmc/articles/PMC2819890/|journal=Emerging Infectious Diseases|volume=15|issue=9|pages=1541–1542|doi=10.3201/eid1509.000000|issn=1080-6040|pmc=2819890}}</ref> and political paintings that showed the emperor and [[Mughal Empire|Mughal empire]] in a positive and powerful light.<ref name=":3" /> In addition to original works of art, Abu al-Hasan also retouched other artists' paintings (one such example is below: ''Dancing Dervishes'')<ref name=":2" />

Abu al-Hasan’s career aligned with developments in the style of [[Mughal painting]]s.<ref name=":2" /> However, when Jahangir's reign came to an end, and [[Shah Jahan]] began his rule, Abu al-Hasan's career became less active until 1628 from which point on, there is no evidence of him producing art.<ref name=":5" />

===The works===
[[File:6Abu'l Hasan Squirrels in a Plane Tree, ca. 1610, India Office Library and Records, London.jpg|thumb|upright=1.1|''Squirrels in a Plane Tree'' (c. 1610) [[British Library]]]]

Study of Saint John the Evangelist, After Albrecht Dürer ''(c. 1600-1601)''

[[Metropolitan Museum of Art]]

Completed by the artist at the age of 13, this is considered an accurate study of [[Albrecht Dürer|Albrecht Durer's]] (a German artist) original.<ref name=":5" />

Brush drawn ink on paper

___

''Spotted Forktail,'' Folio from the Shah Jahan Album (''c. 1610-1615)''

[[Metropolitan Museum of Art]]

Portrays a [[Forktail|spotted forktail bird]], usually found in the [[Himalayas]], caught in a hunt<ref name=":2" /><ref>{{Cite web|url=https://www.metmuseum.org/art/collection/search/454623|access-date=2021-05-21|website=www.metmuseum.org}}</ref> in Jangespur (which is not a known location today) that the emperor demanded be drawn. The [[gilding]] along the border decorated with floral motifs, however, was not completed by Abu al-Hasan, but another artist named as Harif by an inscription.<ref name=":2" />

Ink, opaque watercolor, and gold on silk

___

''Jahangir Shoots Malik 'Anbar (c.1620)''

[[Freer Gallery of Art]]

Opaque watercolor, ink and gold on paper

___

''Emperor Jahangir Triumphing over Poverty (c. 1620-1625)''

[[Los Angeles County Museum of Art]]

Opaque watercolor, gold, and ink on paper

___

''[https://asia.si.edu/object/F1946.28/ Darbar Scene of Jahangir] (c. 1615)''

[[Freer Gallery of Art]]

Abu al-Hasan doesn't label the globe, but puts it under Emperor Jahangir's feet and gives the emperor a key to the globe. The inscription reads, "The key of victory over the two worlds is entrusted in his hand".<ref name=":3">{{Cite journal|last=Ramaswamy|first=Sumathi|date=October 2007|title=Conceit of the Globe in Mughal Visual Practice|url=http://dx.doi.org/10.1017/s0010417507000758|journal=Comparative Studies in Society and History|volume=49|issue=4|pages=751–782|doi=10.1017/s0010417507000758|issn=0010-4175}}</ref>

Opaque watercolor, ink and gold on paper

___

''Allegorical Representation of Emperor Jahangir and Shah 'Abbas of Persia ( c. 1618)''

[[Freer Gallery of Art]]

This political painting was inspired, according to Abu al-Hasan, by a dream. It depicts [[Jahangir]] and [[Abbas the Great|Abbas]] in a situation in which [[Mughal emperors|Mughal emperor]], Jahangir, is in a more powerful position, standing on a lion, embracing the shorter [[Abbas the Great|Shah Abbas of Iran]] (his cousin) who is standing on a small lamb and cannot fully reach around Jahangir's body. In reality the two were enemies vying over territory in [[Afghanistan]] and this scene did not actually occur.<ref>{{Cite web|title=Allegorical representation of Emperor Jahangir and Shah Abbas of Persia from the St. Petersburg Album|url=https://asia.si.edu/object/F1945.9a|access-date=2021-05-21|website=Freer Gallery of Art & Arthur M. Sackler Gallery|language=en-US}}</ref><ref name=":3" />

Opaque watercolor, ink, silver and gold on paper

___

''The Mughal Emperor Jahangir with Radiant Gold Halo, Holding a Globe (c. 1617)''

[[Sotheby's]] Picture Library, London

[[Cartography|Cartographic]] artifacts, such as the [[globe]] in this painting, were regarded as distinguished and could increase the reputation of the owner or holder of such an object. It was as much a symbol of royalty as a crown. This artwork was painted in [[Mandu]] . The [[Persia|Persian]] verses espouse the emperor's greatness in the context of other world empires. In this painting, the globe isn't labeled.<ref name=":3" /> This painting's image measures 197 x 128.5 cm and is the largest known Mughal painting.

Gouache with gold on fine cotton

___

''Squirrels in a Plane Tree'' (c. 1610)

[[British Library]]

One of the most famous painting associated with Abu al-Hasan's name, ''Squirrels in a Plane Tree'', is a depiction of animal posture and movement. The painting depicts [[European Squirrel|European squirrels]] unknown in [[India]]. The signature on the painting is unclear: ''Nadir al-Asr'' ("Miracle of the Age") is the title of [[Ustad Mansur]], not of Abu al-Hasan, but the painting is not in Ustad Mansur's style. It is possible that both painters collaborated on this painting.<ref name=":4" />

Gouache on Paper

___

''Jahangir entertains Abbas'' (c. 1620)

[[Freer Gallery of Art]]

Although the scene depicted in this painting never took place, it shows the reception of the [[Abbas the Great#:~:text=Abbas the Great or Abbas,son of Shah Mohammad Khodabanda.|Safavid Shah 'Abbas I]] by the [[Mughal emperors|Mughal emperor.]] Within the painting are many objects and people used to elevate the [[Mughal Empire|Mughal court]] and Emperor [[Jahangir]], such as international imagery and status symbols. One example is the [https://www.metmuseum.org/art/collection/search/193623 Diana Automaton].<ref>{{Cite journal|last=Keating|first=Jessica|date=2015-08-17|title=Metamorphosis at the Mughal Court|url=http://dx.doi.org/10.1111/1467-8365.12178|journal=Art History|volume=38|issue=4|pages=732–747|doi=10.1111/1467-8365.12178|issn=0141-6790}}</ref> This painting became a part of the [[St. Petersburg album]] when it, and many other Mughal artworks, were seized by [[Nader Shah]] in 1739.<ref>{{Cite web|title=Jahangir Entertains Shah Abbas from the St. Petersburg Album|url=https://asia.si.edu/object/F1942.16a|access-date=2021-05-21|website=Freer Gallery of Art & Arthur M. Sackler Gallery|language=en-US}}</ref>

Opaque watercolor, gold and ink on paper

___

''Jahangir as the Queller of Rebellion (ca. 1623)''

Was in an exhibition held at the Metropolitan Museum, October 21,1987-February 14,1988

Jahangir with a [[Halo (religious iconography)|halo]] around his head, holds a globe with a royal seal on it while dressed in a Mughal outfit. The painting portrays the emperor after he successfully put an end to a rebellion led by one of his sons, [[Shah Jahan|Prince Shah Jahan]].<ref name=":2" />

Unknown

___

''Dancing Dervishes (mid-sixteenth century / c. 1610)''

Was in an exhibition held at the Metropolitan Museum, October 21,1987-February 14,1988

This painting is attributed to [[Aqa Mirak|Aqa-Miraq]] (mid-sixteenth century) but was painted over, most likely, by Abu al-Hasan (c. 1610). It portrays a [[Mevlevi Sema Ceremony|Mevlevi Sema]]' Ceremony, an event filled with music, dance, and ritual.<ref name=":2" />

Ink, opaque watercolor, and gold on paper

==Gallery==
<gallery widths="180" heights="200" perrow="3">
File:Jahangircrop.jpeg|Portrait of [[Jahangir]] (detail) by Abu al-Hasan, 1617
File:10 Abu'l Hasan Saʿdī presents a book of his poems, 1615, Walters Art Museum, Baltimor.jpg|Saʿdī presents a book of his poems, 1615, [[Walters Art Museum]]
File:18 Abu'l Hasan. Portrait of Jahangir, 1615-20, Metropolitan Museum of Art, New-York.jpg|Portrait of Jahangir, 1615–20, [[Metropolitan Museum of Art]]
File:7 Abu'l Hasan, Spotted Forktail, Folio from the Shah Jahan Album ca. 1610–15 Metropolitan Museum New-York.jpg|Spotted Forktail, Folio from the Shah Jahan Album, c. 1610–15, Metropolitan Museum
File:8 Abu'l Hasan. Celebrations at the accession of Jahangir. Jahangirnama. St. Petersburg Album. ca. 1615-18, Institute of Oriental Studies, St. Petersburg..jpg|Celebrations at the accession of Jahangir. Jahangirnama. St. Petersburg Album, c. 1615–18, [[Institute of Oriental Manuscripts of the Russian Academy of Sciences]]
File:Emperor Jahangir, Triumphing Over Poverty, ca1620-1625.jpg|''Emperor Jahangir Triumphing over Poverty,'' attributed to Abu'l Hasan, ca. 1620-1625. Opaque watercolor, gold, and ink on page, 23.81 x 15.24 cm.
File:Durbar scene of Jahangir.jpg|Durbar Scene of Jahangir. Painted by Abu'l Hasan, ca. 1615. Opaque water color, gold, and ink on paper, 16.9 x 12.3 cm. Freer Gallery of Art, Smithsonian Institution, Washington, D.C., purchase F1946.28.
File:Abu'l - The St. Petersburg Album- Allegorical representation of Emperor Jahangir and Shah - Google Art Project.jpg|Abu'l - The St. Petersburg Album- Allegorical representation of Emperor Jahangir and Shah
File:Jahangir Entertains Shah Abbas.jpg|Abu'l Hasan, ''Jahangir Entertains Shah Abbas'', c. 1620. Washington, DC: Freer and Sackler Galleries.
File:6Abu'l Hasan Squirrels in a Plane Tree, ca. 1610, India Office Library and Records, London.jpg|Squirrels in a Plane Tree, ca. 1610, India Office Library and Records, London
File:1 Daulat. Portrait of Abu'l Hasan. From the Gulshan Album, ca. 1610, Golestan Palace Library, Tehran.jpg|Portrait of Abu'l Hasan. From the Gulshan Album, ca. 1610, Golestan Palace Library, Tehran
File:Jahangir - Abu al-Hasan.jpeg|''The Mughal Emperor Jahangir with Radiant Gold Halo, Holding a Globe (c. 1617)''The largest known Mughal portrait depicting Emperor Jahangir. Attributed to Abu'l Hasan, Nadir al-Zaman painted at Mandu
File:2 Abu'l Hasan. Study of St. John Evangelist adapted from Durer's Crusifixion engraving of 1511. Dated 1600-1601, The Ashmolean Museum, Oxford..jpg|2 Abu'l Hasan. Study of St. John Evangelist adapted from Durer's Crusifixion engraving of 1511. Dated 1600-1601, The Ashmolean Museum, Oxford..jpg
File:Dancing Dervishes.jpg|"Dancing Dervishes", Folio from the Shah Jahan Albumrecto: ca. 1610; verso: ca. 1530–50
</gallery>

==References==
{{Reflist}}

==External links==
*[http://libmma.contentdm.oclc.org/cdm/compoundobject/collection/p15324coll10/id/114935/rec/401 The Emperors' album: images of Mughal India], an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF), which contains material on Abu al-Hasan
*[https://www.metmuseum.org/art/collection/search/76199 Study of Saint John the Evangelist], After Albrecht Durer, dated 1600-1601, The Metropolitan Museum of Art
*[https://www.metmuseum.org/art/collection/search/454623 ''Spotted Forktail,'' Folio from the Shah Jahan Album (''c. 1610-1615)''] The Metropolitan Museum of Art
*''[https://asia.si.edu/object/F1948.19a/ Jahangir Shoots Malik 'Anbar (c.1620)] Freer Gallery of Art''
*''[https://collections.lacma.org/node/240917 Emperor Jahangir Triumphing over Poverty] (c. 1620-1625)'' Los Angeles County Museum of Art
*''[https://asia.si.edu/object/F1946.28/ Darbar Scene of Jahangir] (c. 1615) Freer Gallery of Art''
*''[https://asia.si.edu/object/F1945.9a/ Allegorical Representation of Emperor Jahangir and Shah 'Abbas of Persia] ( c. 1618) Freer Gallery of Art''
*''[http://www.islamicmanuscripts.info/reference/books/Sothebys-19951018/Sothebys-19951018-077-088.pdf The Mughal Emperor Jahangir with Radiant Gold Halo, Holding a Globe (c. 1617)]'' Sotheby's Picture Library, London
*[https://asia.si.edu/object/F1942.16a/ ''Jahangir entertains Abbas'' (c. 1620)] Freer Gallery of Art
*[https://libmma.contentdm.oclc.org/digital/collection/p15324coll10/id/114620 An exhibition held at the Metropolitan Museum, October 21,1987-February 14,1988]
{{commons category|Abu al-Hasan (Mughal painter)}}

{{Authority control}}

{{DEFAULTSORT:Al-Hasan, Abu}}
[[Category:Mughal painters]]
[[Category:1589 births]]
[[Category:17th-century deaths]]
[[Category:17th-century Iranian people]]
[[Category:17th-century Indian painters]]
[[Category:Painters from Delhi]]

← Older revision		Revision as of 01:29, 1 April 2022
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	Abu al-Hasan was the son of [[Reza Abbasi\|Aqa Reza]] of [[Herat]] in [[Safavid Iran]], a city with an artistic tradition. [[Reza Abbasi\|Aqa Reza]] was established as an artist and took up employment with [[Jahangir]] (r. 1605-1627) before the latter's accession to the throne of the [[Mughal empire]].<ref name=":2">{{Cite book\|last1=Welch\|first1=Stuart Cary\|url=http://libmma.contentdm.oclc.org/cdm/ref/collection/p15324coll10/id/114935\|title=The Emperors' album: images of Mughal India\|last2=Schimmel\|first2=Annemarie\|last3=Swietochowski\|first3=Marie L.\|last4=Thackston\|first4=Wheeler M.\|date=1987\|publisher=The Metropolitan Museum of Art\|location=New York\|language=English\|oclc=893699157}}</ref> When Abu al-Hasan began producing art, the [[emperor]], Jahangir, appreciated the skills of the boy.<ref name=":0">{{Cite book\|last=Beach\|first=Milo Cleveland\|url=http://dx.doi.org/10.1017/chol9780521400275\|title=Mughal and Rajput Painting\|date=1992-09-24\|publisher=Cambridge University Press\|doi=10.1017/chol9780521400275\|isbn=978-0-521-40027-5}}</ref> In 1599, Abu al-Hasan moved with Jahangir to his newly founded court in [[Allahabad]].<ref name=":1">{{Citation\|title=1600–1660: Mughal painting and the rise of local workshops\|date=1992-09-24\|url=http://dx.doi.org/10.1017/chol9780521400275.006\|work=Mughal and Rajput Painting\|series=The New Cambridge History of India\|pages=68–156\|publisher=Cambridge University Press\|doi=10.1017/chol9780521400275.006\|isbn=978-0-521-40027-5\|access-date=2021-05-13}}</ref>		Abu al-Hasan was the son of [[Reza Abbasi\|Aqa Reza]] of [[Herat]] in [[Safavid Iran]], a city with an artistic tradition. [[Reza Abbasi\|Aqa Reza]] was established as an artist and took up employment with [[Jahangir]] (r. 1605-1627) before the latter's accession to the throne of the [[Mughal empire]].<ref name=":2">{{Cite book\|last1=Welch\|first1=Stuart Cary\|url=http://libmma.contentdm.oclc.org/cdm/ref/collection/p15324coll10/id/114935\|title=The Emperors' album: images of Mughal India\|last2=Schimmel\|first2=Annemarie\|last3=Swietochowski\|first3=Marie L.\|last4=Thackston\|first4=Wheeler M.\|date=1987\|publisher=The Metropolitan Museum of Art\|location=New York\|language=English\|oclc=893699157}}</ref> When Abu al-Hasan began producing art, the [[emperor]], Jahangir, appreciated the skills of the boy.<ref name=":0">{{Cite book\|last=Beach\|first=Milo Cleveland\|url=http://dx.doi.org/10.1017/chol9780521400275\|title=Mughal and Rajput Painting\|date=1992-09-24\|publisher=Cambridge University Press\|doi=10.1017/chol9780521400275\|isbn=978-0-521-40027-5}}</ref> In 1599, Abu al-Hasan moved with Jahangir to his newly founded court in [[Allahabad]].<ref name=":1">{{Citation\|title=1600–1660: Mughal painting and the rise of local workshops\|date=1992-09-24\|url=http://dx.doi.org/10.1017/chol9780521400275.006\|work=Mughal and Rajput Painting\|series=The New Cambridge History of India\|pages=68–156\|publisher=Cambridge University Press\|doi=10.1017/chol9780521400275.006\|isbn=978-0-521-40027-5\|access-date=2021-05-13}}</ref>

	The emperor considered Abu al-Hasan to be particularly special to him and under his care.<ref name=":2" /> This is because although Abu al-Hasan’s artwork was similar in many ways to his father’s with [[Dutch art\|Dutch]] and [[English art\|English]] influence, it was considered to be of a higher quality similar to that of older masters in the field.<ref name=":2" /><ref name=":0" /> Jahangir said of Abu al-Hasan that he had no equal and for the work done on the frontispiece for his memoires, the emperor bestowed the title ''Nadir-uz-Saman'' ("Wonder of the Age") on Abu al-Hasan in 1618.<ref name=":5">{{Cite web\|title=Study of Saint John the Evangelist, After Albrecht Dürer\|url=https://www.metmuseum.org/art/collection/search/76199\|url-status=live\|access-date=2021-05-21\|website=www.metmuseum.org}}</ref>		The emperor considered Abu al-Hasan to be particularly special to him and under his care.<ref name=":2" /> This is because although Abu al-Hasan’s artwork was similar in many ways to his father’s with [[Dutch art\|Dutch]] and [[English art\|English]] influence, it was considered to be of a higher quality similar to that of older masters in the field.<ref name=":2" /><ref name=":0" /> Jahangir said of Abu al-Hasan that he had no equal and for the work done on the frontispiece for his memoires, the emperor bestowed the title ''Nadir-uz-Saman'' ("Wonder of the Age") on Abu al-Hasan in 1618.<ref name=":5">{{Cite web\|title=Study of Saint John the Evangelist, After Albrecht Dürer\|url=https://www.metmuseum.org/art/collection/search/76199\|url-status=live\|access-date=2021-05-21\|website=www.metmuseum.org\|archive-url=https://web.archive.org/web/20210521132521/https://www.metmuseum.org/art/collection/search/76199 \|archive-date=21 May 2021 }}</ref>

	Abu al-Hasan's main task was the documentation of events at the imperial court, which resulted in many portraits being completed. [[Portrait]]s were the hallmark of Jahangir’s rule.<ref name=":12">{{Citation\|title=1600–1660: Mughal painting and the rise of local workshops\|date=1992-09-24\|url=http://dx.doi.org/10.1017/chol9780521400275.006\|work=Mughal and Rajput Painting\|series=The New Cambridge History of India\|pages=68–156\|publisher=Cambridge University Press\|doi=10.1017/chol9780521400275.006\|isbn=978-0-521-40027-5\|access-date=2021-05-13}}</ref> Not many of Abu al-Hasan's paintings survived, but those that identify him as the artist show that he also worked on a range of subjects, including some everyday scenes<ref name=":4">{{Cite journal\|last=Potter\|first=Polyxeni\|date=September 2009\|title=Never Has There Been a Shade1\|journal=Emerging Infectious Diseases\|volume=15\|issue=9\|pages=1541–1542\|doi=10.3201/eid1509.000000\|issn=1080-6040\|pmc=2819890}}</ref> and political paintings that showed the emperor and [[Mughal Empire\|Mughal empire]] in a positive and powerful light.<ref name=":3" /> In addition to original works of art, Abu al-Hasan also retouched other artists' paintings (one such example is below: ''Dancing Dervishes'')<ref name=":2" />		Abu al-Hasan's main task was the documentation of events at the imperial court, which resulted in many portraits being completed. [[Portrait]]s were the hallmark of Jahangir’s rule.<ref name=":12">{{Citation\|title=1600–1660: Mughal painting and the rise of local workshops\|date=1992-09-24\|url=http://dx.doi.org/10.1017/chol9780521400275.006\|work=Mughal and Rajput Painting\|series=The New Cambridge History of India\|pages=68–156\|publisher=Cambridge University Press\|doi=10.1017/chol9780521400275.006\|isbn=978-0-521-40027-5\|access-date=2021-05-13}}</ref> Not many of Abu al-Hasan's paintings survived, but those that identify him as the artist show that he also worked on a range of subjects, including some everyday scenes<ref name=":4">{{Cite journal\|last=Potter\|first=Polyxeni\|date=September 2009\|title=Never Has There Been a Shade1\|journal=Emerging Infectious Diseases\|volume=15\|issue=9\|pages=1541–1542\|doi=10.3201/eid1509.000000\|issn=1080-6040\|pmc=2819890}}</ref> and political paintings that showed the emperor and [[Mughal Empire\|Mughal empire]] in a positive and powerful light.<ref name=":3" /> In addition to original works of art, Abu al-Hasan also retouched other artists' paintings (one such example is below: ''Dancing Dervishes'')<ref name=":2" />
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	[[Metropolitan Museum of Art]]		[[Metropolitan Museum of Art]]

	Portrays a [[Forktail\|spotted forktail bird]], usually found in the [[Himalayas]], caught in a hunt<ref name=":2" /><ref>{{Cite web\|title="Spotted Forktail", Folio from the Shah Jahan Album\|url=https://www.metmuseum.org/art/collection/search/454623\|url-status=live\|access-date=2021-05-21\|website=www.metmuseum.org}}</ref> in Jangespur (which is not a known location today) that the emperor demanded be drawn. The [[gilding]] along the border decorated with floral motifs, however, was not completed by Abu al-Hasan, but another artist named as Harif by an inscription.<ref name=":2" />		Portrays a [[Forktail\|spotted forktail bird]], usually found in the [[Himalayas]], caught in a hunt<ref name=":2" /><ref>{{Cite web\|title="Spotted Forktail", Folio from the Shah Jahan Album\|url=https://www.metmuseum.org/art/collection/search/454623\|url-status=live\|access-date=2021-05-21\|website=www.metmuseum.org\|archive-url=https://web.archive.org/web/20161123010153/http://www.metmuseum.org:80/art/collection/search/454623 \|archive-date=23 November 2016 }}</ref> in Jangespur (which is not a known location today) that the emperor demanded be drawn. The [[gilding]] along the border decorated with floral motifs, however, was not completed by Abu al-Hasan, but another artist named as Harif by an inscription.<ref name=":2" />

	<u>Ink, opaque watercolor, and gold on silk</u>		<u>Ink, opaque watercolor, and gold on silk</u>
Line 70:		Line 70:
	[[Freer Gallery of Art]]		[[Freer Gallery of Art]]

	This political painting was inspired, according to Abu al-Hasan, by a dream. It depicts [[Jahangir]] and [[Abbas the Great\|Abbas]] in a situation in which [[Mughal emperors\|Mughal emperor]], Jahangir, is in a more powerful position, standing on a lion, embracing the shorter [[Abbas the Great\|Shah Abbas of Iran]] (his cousin) who is standing on a small lamb and cannot fully reach around Jahangir's body. In reality the two were enemies vying over territory in [[Afghanistan]] and this scene did not actually occur.~~<ref name=":3" />~~<ref>{{Cite web\|title=Allegorical representation of Emperor Jahangir and Shah Abbas of Persia from the St. Petersburg Album\|url=https://asia.si.edu/object/F1945.9a\|access-date=2021-05-21\|website=Freer Gallery of Art & Arthur M. Sackler Gallery\|language=en-US}}</ref>		This political painting was inspired, according to Abu al-Hasan, by a dream. It depicts [[Jahangir]] and [[Abbas the Great\|Abbas]] in a situation in which [[Mughal emperors\|Mughal emperor]], Jahangir, is in a more powerful position, standing on a lion, embracing the shorter [[Abbas the Great\|Shah Abbas of Iran]] (his cousin) who is standing on a small lamb and cannot fully reach around Jahangir's body. In reality the two were enemies vying over territory in [[Afghanistan]] and this scene did not actually occur.<ref>{{Cite web\|title=Allegorical representation of Emperor Jahangir and Shah Abbas of Persia from the St. Petersburg Album\|url=https://asia.si.edu/object/F1945.9a\|access-date=2021-05-21\|website=Freer Gallery of Art & Arthur M. Sackler Gallery\|language=en-US}}</ref><ref name=":3" />

	<u>Opaque watercolor, ink, silver and gold on paper</u>		<u>Opaque watercolor, ink, silver and gold on paper</u>
Line 80:		Line 80:
	[[Sotheby's]] Picture Library, London		[[Sotheby's]] Picture Library, London

	[[Cartography\|Cartographic]] artifacts, such as the [[globe]] in this painting, were regarded as distinguished and could increase the reputation of the owner or holder of such an object. It was as much a symbol of royalty as a crown. This artwork was painted in [[Mandu, Madhya Pradesh\|Mandu]]. The [[Persia]]n verses espouse the emperor's greatness in the context of other world empires. In this painting, the globe isn't labeled.<ref name=":3" /> This painting's image measures 197 x 128.5~~ ~~cm and is the largest known Mughal painting.		[[Cartography\|Cartographic]] artifacts, such as the [[globe]] in this painting, were regarded as distinguished and could increase the reputation of the owner or holder of such an object. It was as much a symbol of royalty as a crown. This artwork was painted in [[Mandu, Madhya Pradesh\|Mandu]]. The [[Persia\|Persian]] verses espouse the emperor's greatness in the context of other world empires. In this painting, the globe isn't labeled.<ref name=":3" /> This painting's image measures 197 x 128.5 cm and is the largest known Mughal painting.

	<u>Gouache with gold on fine cotton</u>		<u>Gouache with gold on fine cotton</u>
Line 108:		Line 108:
	''Jahangir as the Queller of Rebellion (ca. 1623)''		''Jahangir as the Queller of Rebellion (ca. 1623)''

	Was in an exhibition held at the Metropolitan Museum, October 21, 1987-February 14, 1988		Was in an exhibition held at the Metropolitan Museum, October 21,1987-February 14,1988

	Jahangir with a [[Halo (religious iconography)\|halo]] around his head, holds a globe with a royal seal on it while dressed in a Mughal outfit. The painting portrays the emperor after he successfully put an end to a rebellion led by one of his sons, [[Shah Jahan\|Prince Shah Jahan]].<ref name=":2" />		Jahangir with a [[Halo (religious iconography)\|halo]] around his head, holds a globe with a royal seal on it while dressed in a Mughal outfit. The painting portrays the emperor after he successfully put an end to a rebellion led by one of his sons, [[Shah Jahan\|Prince Shah Jahan]].<ref name=":2" />
Line 118:		Line 118:
	''Dancing Dervishes (mid-sixteenth century / c. 1610)''		''Dancing Dervishes (mid-sixteenth century / c. 1610)''

	Was in an exhibition held at the Metropolitan Museum, October 21, 1987-February 14, 1988		Was in an exhibition held at the Metropolitan Museum, October 21,1987-February 14,1988

	This painting is attributed to [[Aqa Mirak\|Aqa-Miraq]] (mid-sixteenth century) but was painted over, most likely, by Abu al-Hasan (c. 1610). It portrays a [[Mevlevi Sema Ceremony\|Mevlevi Sema]]' Ceremony, an event filled with music, dance, and ritual.<ref name=":2" />		This painting is attributed to [[Aqa Mirak\|Aqa-Miraq]] (mid-sixteenth century) but was painted over, most likely, by Abu al-Hasan (c. 1610). It portrays a [[Mevlevi Sema Ceremony\|Mevlevi Sema]]' Ceremony, an event filled with music, dance, and ritual.<ref name=":2" />
Line 138:		Line 138:
	File:1 Daulat. Portrait of Abu'l Hasan. From the Gulshan Album, ca. 1610, Golestan Palace Library, Tehran.jpg\|Portrait of Abu'l Hasan. From the Gulshan Album, ca. 1610, Golestan Palace Library, Tehran		File:1 Daulat. Portrait of Abu'l Hasan. From the Gulshan Album, ca. 1610, Golestan Palace Library, Tehran.jpg\|Portrait of Abu'l Hasan. From the Gulshan Album, ca. 1610, Golestan Palace Library, Tehran
	File:Jahangir - Abu al-Hasan.jpeg\|''The Mughal Emperor Jahangir with Radiant Gold Halo, Holding a Globe (c. 1617)''The largest known Mughal portrait depicting Emperor Jahangir. Attributed to Abu'l Hasan, Nadir al-Zaman painted at Mandu		File:Jahangir - Abu al-Hasan.jpeg\|''The Mughal Emperor Jahangir with Radiant Gold Halo, Holding a Globe (c. 1617)''The largest known Mughal portrait depicting Emperor Jahangir. Attributed to Abu'l Hasan, Nadir al-Zaman painted at Mandu
	File:2 Abu'l Hasan. Study of St. John Evangelist adapted from Durer's Crusifixion engraving of 1511. Dated 1600-1601, The Ashmolean Museum, Oxford..jpg\|2 Abu'l Hasan. Study of St. John Evangelist adapted from Durer's ~~Crusifixion~~ engraving of 1511. Dated 1600-1601, The Ashmolean Museum, Oxford.~~.jpg~~		File:2 Abu'l Hasan. Study of St. John Evangelist adapted from Durer's Crusifixion engraving of 1511. Dated 1600-1601, The Ashmolean Museum, Oxford..jpg\|2 Abu'l Hasan. Study of St. John Evangelist adapted from Durer's Crucifixion engraving of 1511. Dated 1600-1601, The Ashmolean Museum, Oxford.
	File:Dancing Dervishes.jpg\|"Dancing Dervishes", Folio from the Shah Jahan Albumrecto: ca. 1610; verso: ca. 1530–50		File:Dancing Dervishes.jpg\|"Dancing Dervishes", Folio from the Shah Jahan Albumrecto: ca. 1610; verso: ca. 1530–50
	</gallery>		</gallery>
Line 164:		Line 164:
	[[Category:1589 births]]		[[Category:1589 births]]
	[[Category:17th-century deaths]]		[[Category:17th-century deaths]]
	[[Category:17th-century Iranian ~~people~~]]		[[Category:17th-century Iranian painters]]
	[[Category:17th-century Indian painters]]		[[Category:17th-century Indian painters]]
	[[Category:Painters from Delhi]]		[[Category:Painters from Delhi]]

← Older revision		Revision as of 13:14, 4 January 2022
Line 70:		Line 70:
	[[Freer Gallery of Art]]		[[Freer Gallery of Art]]

	This political painting was inspired, according to Abu al-Hasan, by a dream. It depicts [[Jahangir]] and [[Abbas the Great\|Abbas]] in a situation in which [[Mughal emperors\|Mughal emperor]], Jahangir, is in a more powerful position, standing on a lion, embracing the shorter [[Abbas the Great\|Shah Abbas of Iran]] (his cousin) who is standing on a small lamb and cannot fully reach around Jahangir's body. In reality the two were enemies vying over territory in [[Afghanistan]] and this scene did not actually occur.<ref>{{Cite web\|title=Allegorical representation of Emperor Jahangir and Shah Abbas of Persia from the St. Petersburg Album\|url=https://asia.si.edu/object/F1945.9a\|access-date=2021-05-21\|website=Freer Gallery of Art & Arthur M. Sackler Gallery\|language=en-US}}</ref~~><ref name=":3" /~~>		This political painting was inspired, according to Abu al-Hasan, by a dream. It depicts [[Jahangir]] and [[Abbas the Great\|Abbas]] in a situation in which [[Mughal emperors\|Mughal emperor]], Jahangir, is in a more powerful position, standing on a lion, embracing the shorter [[Abbas the Great\|Shah Abbas of Iran]] (his cousin) who is standing on a small lamb and cannot fully reach around Jahangir's body. In reality the two were enemies vying over territory in [[Afghanistan]] and this scene did not actually occur.<ref name=":3" /><ref>{{Cite web\|title=Allegorical representation of Emperor Jahangir and Shah Abbas of Persia from the St. Petersburg Album\|url=https://asia.si.edu/object/F1945.9a\|access-date=2021-05-21\|website=Freer Gallery of Art & Arthur M. Sackler Gallery\|language=en-US}}</ref>

	<u>Opaque watercolor, ink, silver and gold on paper</u>		<u>Opaque watercolor, ink, silver and gold on paper</u>
Line 80:		Line 80:
	[[Sotheby's]] Picture Library, London		[[Sotheby's]] Picture Library, London

	[[Cartography\|Cartographic]] artifacts, such as the [[globe]] in this painting, were regarded as distinguished and could increase the reputation of the owner or holder of such an object. It was as much a symbol of royalty as a crown. This artwork was painted in [[Mandu, Madhya Pradesh\|Mandu]]. The [[Persia~~\|Persian~~]] verses espouse the emperor's greatness in the context of other world empires. In this painting, the globe isn't labeled.<ref name=":3" /> This painting's image measures 197 x 128.5 cm and is the largest known Mughal painting.		[[Cartography\|Cartographic]] artifacts, such as the [[globe]] in this painting, were regarded as distinguished and could increase the reputation of the owner or holder of such an object. It was as much a symbol of royalty as a crown. This artwork was painted in [[Mandu, Madhya Pradesh\|Mandu]]. The [[Persia]]n verses espouse the emperor's greatness in the context of other world empires. In this painting, the globe isn't labeled.<ref name=":3" /> This painting's image measures 197 x 128.5 cm and is the largest known Mughal painting.

	<u>Gouache with gold on fine cotton</u>		<u>Gouache with gold on fine cotton</u>
Line 108:		Line 108:
	''Jahangir as the Queller of Rebellion (ca. 1623)''		''Jahangir as the Queller of Rebellion (ca. 1623)''

	Was in an exhibition held at the Metropolitan Museum, October 21,1987-February 14,1988		Was in an exhibition held at the Metropolitan Museum, October 21, 1987-February 14, 1988

	Jahangir with a [[Halo (religious iconography)\|halo]] around his head, holds a globe with a royal seal on it while dressed in a Mughal outfit. The painting portrays the emperor after he successfully put an end to a rebellion led by one of his sons, [[Shah Jahan\|Prince Shah Jahan]].<ref name=":2" />		Jahangir with a [[Halo (religious iconography)\|halo]] around his head, holds a globe with a royal seal on it while dressed in a Mughal outfit. The painting portrays the emperor after he successfully put an end to a rebellion led by one of his sons, [[Shah Jahan\|Prince Shah Jahan]].<ref name=":2" />
Line 118:		Line 118:
	''Dancing Dervishes (mid-sixteenth century / c. 1610)''		''Dancing Dervishes (mid-sixteenth century / c. 1610)''

	Was in an exhibition held at the Metropolitan Museum, October 21,1987-February 14,1988		Was in an exhibition held at the Metropolitan Museum, October 21, 1987-February 14, 1988

	This painting is attributed to [[Aqa Mirak\|Aqa-Miraq]] (mid-sixteenth century) but was painted over, most likely, by Abu al-Hasan (c. 1610). It portrays a [[Mevlevi Sema Ceremony\|Mevlevi Sema]]' Ceremony, an event filled with music, dance, and ritual.<ref name=":2" />		This painting is attributed to [[Aqa Mirak\|Aqa-Miraq]] (mid-sixteenth century) but was painted over, most likely, by Abu al-Hasan (c. 1610). It portrays a [[Mevlevi Sema Ceremony\|Mevlevi Sema]]' Ceremony, an event filled with music, dance, and ritual.<ref name=":2" />

← Older revision		Revision as of 09:05, 15 June 2021
Line 5:		Line 5:

	== Biography ==		== Biography ==
	Abu al-Hasan was the son of [[Reza Abbasi\|Aqa Reza]] of [[Herat]] in [[Safavid Iran]], a city with an artistic tradition. [[Reza Abbasi\|Aqa Reza]] was established as an artist and took up employment with [[Jahangir]] (r. 1605-1627) before the latter's accession to the throne of the [[Mughal empire]].<ref name=":2">{{Cite ~~web~~\|~~title~~=~~b1048212 1~~\|url=~~https~~://libmma.contentdm.oclc.org/~~digital~~/collection/p15324coll10/id/114935\|~~access-date~~=~~2021-05-13~~\|~~website~~=~~libmma~~.~~contentdm~~.~~oclc.org~~\|language=en}}</ref> When Abu al-Hasan began producing art, the [[emperor]], Jahangir, appreciated the skills of the boy.<ref name=":0">{{Cite book\|last=Beach\|first=Milo Cleveland\|url=http://dx.doi.org/10.1017/chol9780521400275\|title=Mughal and Rajput Painting\|date=1992-09-24\|publisher=Cambridge University Press\|isbn=978-0-521-40027-5}}</ref> In 1599, Abu al-Hasan moved with Jahangir to his newly founded court in [[Allahabad]].<ref name=":1">{{Citation\|title=1600–1660: Mughal painting and the rise of local workshops\|date=1992-09-24\|url=http://dx.doi.org/10.1017/chol9780521400275.006\|work=Mughal and Rajput Painting\|pages=68–156\|publisher=Cambridge University Press\|isbn=978-0-521-40027-5\|access-date=2021-05-13}}</ref>		Abu al-Hasan was the son of [[Reza Abbasi\|Aqa Reza]] of [[Herat]] in [[Safavid Iran]], a city with an artistic tradition. [[Reza Abbasi\|Aqa Reza]] was established as an artist and took up employment with [[Jahangir]] (r. 1605-1627) before the latter's accession to the throne of the [[Mughal empire]].<ref name=":2">{{Cite book\|last1=Welch\|first1=Stuart Cary\|url=http://libmma.contentdm.oclc.org/cdm/ref/collection/p15324coll10/id/114935\|title=The Emperors' album: images of Mughal India\|last2=Schimmel\|first2=Annemarie\|last3=Swietochowski\|first3=Marie L.\|last4=Thackston\|first4=Wheeler M.\|date=1987\|publisher=The Metropolitan Museum of Art\|location=New York\|language=English\|oclc=893699157}}</ref> When Abu al-Hasan began producing art, the [[emperor]], Jahangir, appreciated the skills of the boy.<ref name=":0">{{Cite book\|last=Beach\|first=Milo Cleveland\|url=http://dx.doi.org/10.1017/chol9780521400275\|title=Mughal and Rajput Painting\|date=1992-09-24\|publisher=Cambridge University Press\|doi=10.1017/chol9780521400275\|isbn=978-0-521-40027-5}}</ref> In 1599, Abu al-Hasan moved with Jahangir to his newly founded court in [[Allahabad]].<ref name=":1">{{Citation\|title=1600–1660: Mughal painting and the rise of local workshops\|date=1992-09-24\|url=http://dx.doi.org/10.1017/chol9780521400275.006\|work=Mughal and Rajput Painting\|series=The New Cambridge History of India\|pages=68–156\|publisher=Cambridge University Press\|doi=10.1017/chol9780521400275.006\|isbn=978-0-521-40027-5\|access-date=2021-05-13}}</ref>

	The emperor considered Abu al-Hasan to be particularly special to him and under his care.<ref name=":2" /> This is because although Abu al-Hasan’s artwork was similar in many ways to his father’s with [[Dutch art\|Dutch]] and [[English art\|English]] influence, it was considered to be of a higher quality similar to that of older masters in the field.<ref name=":2" /><ref name=":0" /> Jahangir said of Abu al-Hasan that he had no equal and for the work done on the frontispiece for his memoires, the emperor bestowed the title ''Nadir-uz-Saman'' ("Wonder of the Age") on Abu al-Hasan in 1618.<ref name=":5">{{Cite web\|url=https://www.metmuseum.org/art/collection/search/76199\|access-date=2021-05-21\|website=www.metmuseum.org}}</ref>		The emperor considered Abu al-Hasan to be particularly special to him and under his care.<ref name=":2" /> This is because although Abu al-Hasan’s artwork was similar in many ways to his father’s with [[Dutch art\|Dutch]] and [[English art\|English]] influence, it was considered to be of a higher quality similar to that of older masters in the field.<ref name=":2" /><ref name=":0" /> Jahangir said of Abu al-Hasan that he had no equal and for the work done on the frontispiece for his memoires, the emperor bestowed the title ''Nadir-uz-Saman'' ("Wonder of the Age") on Abu al-Hasan in 1618.<ref name=":5">{{Cite web\|title=Study of Saint John the Evangelist, After Albrecht Dürer\|url=https://www.metmuseum.org/art/collection/search/76199\|url-status=live\|access-date=2021-05-21\|website=www.metmuseum.org}}</ref>

	Abu al-Hasan's main task was the documentation of events at the imperial court, which resulted in many portraits being completed. [[Portrait]]s were the hallmark of Jahangir’s rule.<ref name=":12">{{Citation\|title=1600–1660: Mughal painting and the rise of local workshops\|date=1992-09-24\|url=http://dx.doi.org/10.1017/chol9780521400275.006\|work=Mughal and Rajput Painting\|pages=68–156\|publisher=Cambridge University Press\|isbn=978-0-521-40027-5\|access-date=2021-05-13}}</ref> Not many of Abu al-Hasan's paintings survived, but those that identify him as the artist show that he also worked on a range of subjects, including some everyday scenes<ref name=":4">{{Cite journal\|last=Potter\|first=Polyxeni\|date=September 2009\|title=Never Has There Been a Shade1~~\|url=https://www.ncbi.nlm.nih.gov/pmc/articles/PMC2819890/~~\|journal=Emerging Infectious Diseases\|volume=15\|issue=9\|pages=1541–1542\|doi=10.3201/eid1509.000000\|issn=1080-6040\|pmc=2819890}}</ref> and political paintings that showed the emperor and [[Mughal Empire\|Mughal empire]] in a positive and powerful light.<ref name=":3" /> In addition to original works of art, Abu al-Hasan also retouched other artists' paintings (one such example is below: ''Dancing Dervishes'')<ref name=":2" />		Abu al-Hasan's main task was the documentation of events at the imperial court, which resulted in many portraits being completed. [[Portrait]]s were the hallmark of Jahangir’s rule.<ref name=":12">{{Citation\|title=1600–1660: Mughal painting and the rise of local workshops\|date=1992-09-24\|url=http://dx.doi.org/10.1017/chol9780521400275.006\|work=Mughal and Rajput Painting\|series=The New Cambridge History of India\|pages=68–156\|publisher=Cambridge University Press\|doi=10.1017/chol9780521400275.006\|isbn=978-0-521-40027-5\|access-date=2021-05-13}}</ref> Not many of Abu al-Hasan's paintings survived, but those that identify him as the artist show that he also worked on a range of subjects, including some everyday scenes<ref name=":4">{{Cite journal\|last=Potter\|first=Polyxeni\|date=September 2009\|title=Never Has There Been a Shade1\|journal=Emerging Infectious Diseases\|volume=15\|issue=9\|pages=1541–1542\|doi=10.3201/eid1509.000000\|issn=1080-6040\|pmc=2819890}}</ref> and political paintings that showed the emperor and [[Mughal Empire\|Mughal empire]] in a positive and powerful light.<ref name=":3" /> In addition to original works of art, Abu al-Hasan also retouched other artists' paintings (one such example is below: ''Dancing Dervishes'')<ref name=":2" />

	Abu al-Hasan’s career aligned with developments in the style of [[Mughal painting]]s.<ref name=":2" /> However, when Jahangir's reign came to an end, and [[Shah Jahan]] began his rule, Abu al-Hasan's career became less active until 1628 from which point on, there is no evidence of him producing art.<ref name=":5" />		Abu al-Hasan’s career aligned with developments in the style of [[Mughal painting]]s.<ref name=":2" /> However, when Jahangir's reign came to an end, and [[Shah Jahan]] began his rule, Abu al-Hasan's career became less active until 1628 from which point on, there is no evidence of him producing art.<ref name=":5" />
Line 34:		Line 34:
	[[Metropolitan Museum of Art]]		[[Metropolitan Museum of Art]]

	Portrays a [[Forktail\|spotted forktail bird]], usually found in the [[Himalayas]], caught in a hunt<ref name=":2" /><ref>{{Cite web\|url=https://www.metmuseum.org/art/collection/search/454623\|access-date=2021-05-21\|website=www.metmuseum.org}}</ref> in Jangespur (which is not a known location today) that the emperor demanded be drawn. The [[gilding]] along the border decorated with floral motifs, however, was not completed by Abu al-Hasan, but another artist named as Harif by an inscription.<ref name=":2" />		Portrays a [[Forktail\|spotted forktail bird]], usually found in the [[Himalayas]], caught in a hunt<ref name=":2" /><ref>{{Cite web\|title="Spotted Forktail", Folio from the Shah Jahan Album\|url=https://www.metmuseum.org/art/collection/search/454623\|url-status=live\|access-date=2021-05-21\|website=www.metmuseum.org}}</ref> in Jangespur (which is not a known location today) that the emperor demanded be drawn. The [[gilding]] along the border decorated with floral motifs, however, was not completed by Abu al-Hasan, but another artist named as Harif by an inscription.<ref name=":2" />

	<u>Ink, opaque watercolor, and gold on silk</u>		<u>Ink, opaque watercolor, and gold on silk</u>
Line 60:		Line 60:
	[[Freer Gallery of Art]]		[[Freer Gallery of Art]]

	Abu al-Hasan doesn't label the globe, but puts it under Emperor Jahangir's feet and gives the emperor a key to the globe. The inscription reads, "The key of victory over the two worlds is entrusted in his hand".<ref name=":3">{{Cite journal\|last=Ramaswamy\|first=Sumathi\|date=October 2007\|title=Conceit of the Globe in Mughal Visual Practice\|url=http://dx.doi.org/10.1017/s0010417507000758\|journal=Comparative Studies in Society and History\|volume=49\|issue=4\|pages=751–782\|doi=10.1017/s0010417507000758\|issn=0010-4175}}</ref>		Abu al-Hasan doesn't label the globe, but puts it under Emperor Jahangir's feet and gives the emperor a key to the globe. The inscription reads, "The key of victory over the two worlds is entrusted in his hand".<ref name=":3">{{Cite journal\|last=Ramaswamy\|first=Sumathi\|date=October 2007\|title=Conceit of the Globe in Mughal Visual Practice\|url=http://dx.doi.org/10.1017/s0010417507000758\|journal=Comparative Studies in Society and History\|volume=49\|issue=4\|pages=751–782\|doi=10.1017/s0010417507000758\|s2cid=144619248\|issn=0010-4175}}</ref>

	<u>Opaque watercolor, ink and gold on paper</u>		<u>Opaque watercolor, ink and gold on paper</u>
Line 80:		Line 80:
	[[Sotheby's]] Picture Library, London		[[Sotheby's]] Picture Library, London

	[[Cartography\|Cartographic]] artifacts, such as the [[globe]] in this painting, were regarded as distinguished and could increase the reputation of the owner or holder of such an object. It was as much a symbol of royalty as a crown. This artwork was painted in [[Mandu]] . The [[Persia\|Persian]] verses espouse the emperor's greatness in the context of other world empires. In this painting, the globe isn't labeled.<ref name=":3" /> This painting's image measures 197 x 128.5 cm and is the largest known Mughal painting.		[[Cartography\|Cartographic]] artifacts, such as the [[globe]] in this painting, were regarded as distinguished and could increase the reputation of the owner or holder of such an object. It was as much a symbol of royalty as a crown. This artwork was painted in [[Mandu, Madhya Pradesh\|Mandu]]. The [[Persia\|Persian]] verses espouse the emperor's greatness in the context of other world empires. In this painting, the globe isn't labeled.<ref name=":3" /> This painting's image measures 197 x 128.5 cm and is the largest known Mughal painting.

	<u>Gouache with gold on fine cotton</u>		<u>Gouache with gold on fine cotton</u>