.svg)
6
edits
Abu'l-Hasan (artist): Difference between revisions
robot: Update article (please report if you notice any mistake or error in this edit)
CleanupBot (talk | contribs) m (→The works: clean up) |
(robot: Update article (please report if you notice any mistake or error in this edit)) |
||
| Line 7: | Line 7: | ||
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" /> | ||
| 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|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. | 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]] | [[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 | 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 | [[Category:17th-century Iranian painters]] | ||
[[Category:17th-century Indian painters]] | [[Category:17th-century Indian painters]] | ||
[[Category:Painters from Delhi]] | [[Category:Painters from Delhi]] | ||