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Abu'l-Hasan (artist): Difference between revisions
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== 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 | 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 | 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" /> | ||
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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|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> | ||
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[[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> | ||
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[[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> | ||