ملف:Self-Portrait of Farrukh Beg.jpg

من أرابيكا، الموسوعة الحرة
اذهب إلى التنقل اذهب إلى البحث

الملف الأصلي(1٬498 × 2٬000 بكسل حجم الملف: 1٫01 ميجابايت، نوع MIME: image/jpeg)

ملخص

الوصف

Self-Portrait of Farrukh Beg: Page from a Muraqqa of Shah Jahan Farrukh Beg

Date:

   ca. 1615

Culture:

   India (Mughal court at Agra)

Medium:

   Opaque watercolor and ink on paper

Dimensions:

   Painting: 5 13/16 x 2 7/8 in. (14.7 x 7.3 cm) Page: 21 15/16 x 13 11/16 in. (55.7 x 34.8 cm)

Classification:

   Paintings

Credit Line:

   Lent by the Eva and Konrad Seitz Collection

Rights and Reproduction:

   Eva and Konrad Seitz Collection

This artwork is not on display

   Share
   Description
   This portrait of an elderly man, identified by inscription as the work of Farrukh Beg, is a presumed self-portrait, although the inscription allows scope for ambiguity. It is a measure of the status and esteem in which Farrukh Beg was held at court; rarely would an artist presume to undertake such a personal work. The artist is depicted as an old man standing amid a flowering landscape and leaning contemplatively upon a long staff. The flowering bush and skyline with horizontal clouds embody elements from his Deccan years. As in those works, the landscape is not of this world but rather an imagined place. This page bears a colophon by the emperor Shah Jahan indicating it once formed part of a muraqqa (album) in the imperial library. The album was presumably inherited from his father, Jahangir, under whose patronage Farrukh Beg worked in his last years.
   About the Artist
   Farrukh Beg
   Born in Iran ca. 1545, active 1580s–1615, at the Mughal courts in Kabul, Lahore, Agra, and the Sultanate of Bijapur, died in Agra ca. 1619
   Few Mughal painters have such a catalogue of praise from their patrons. Farrukh Beg was first noted as Farrukh Husayn in the early 1580s in the service of the Safavid Shah Khodabanda, in
   Kabul, working for Akbar’s brother. In 1585, while serving Akbar at Lahore, he was singled out for praise as Farrukh Beg (beg is an honorific title, perhaps conferred by Akbar) in Abu’l Fazl’s official biography of Akbar, Akbarnama, alongside the unsurpassed Daswant. By 1590, he was attached to Ibrahim ‘Adil Shah II’s atelier in Bijapur, where his astonishing skill was praised by the court poet. In 1609, he appeared in Jahangir’s memoirs as “one of the peerless of his age.” It seems that the apparent freedom he enjoyed was commensurate with his talent.
   Farrukh Beg contributed to Akbar’s major commissions of the day, the Baburnama (1589) and the first illustrated edition of the Akbarnama (probably 1589–90). His painting Akbar’s Entry into Surat is one of the greatest works of that remarkable manuscript, subtly blending Timurid and Mughal conventions into a new vision of startling sophistication, but not in keeping with the earthy realism that appears to have been the official agenda, to mirror the aspirations that Akbar’s biography would eulogize the emperor as a history maker. A favored subject was youthful and graceful men in a flowering landscape, a well-established theme in Persian painting and one to which Farrukh Beg returned in his last years. While some of these works are clearly portraits, others seem to have a more poetic intent. His Bijapur sojourn produced a series of pictures unprecedented in Mughal India. In Ibrahim Adil Shah II hawking, he self-consciously reintroduced the mannerisms of Persian landscape painting and fused them with the newly emerging European-inspired approach to pictorial space. It is above all a landscape of the mind, extraordinary, highly individualistic, and unprecedented.
Farrukh Beg’s masterful vision of a melancholy Sufi brings together much that distinguished his life’s achievement. The work marks his only known use of European models, here transformed by the radical chromatic experiments of his Bijapur works into a mannerist painting distinguished by surreal coloring and modeling of form. That it was created in his seventieth year, the same year as a self-portrait very close in mood, makes it all the more compelling. Farrukh Beg ignored even nominal elements of perspective and instead treated surface decor as paramount in his highly individualistic, singular style.
التاريخ قرابة ١٦١٥
date QS:P,+1615-00-00T00:00:00Z/9,P1480,Q5727902
المصدر https://www.metmuseum.org/Collections/search-the-collections/60050390?rpp=20&pg=2&ft=jahangir&pos=23
المؤلف

Date:

   ca. 1615

Culture:

India (Mughal court at Agra)
إصدارات أخرى

ترخيص

Public domain
يقع هذا العمل في النِّطاق العامِّ في الهند لأنَّ حقوق تأليفه ونشره قد نفدت.
  • يسري تشريع حقوق التَّأليف والنَّشر الهنديُّ على الأعمال التي نشرت للمرة الأولى في الهند.
  • تدخل الأعمال الَّتي تكون هوية مُؤَلِّفها مجهولة والصُّور الضَّوئية والأعمال السِّينمائية والتَّسجيلات الصَّوتية وأعمال الحكومة والأعمال الَّتي يكون تأليفها مُشترَكاً وأعمال المُنظمات الدَّولية النِّطاقَ العام بعد 60 عاماً من تاريخ نشرها للمرة الأولى حسب القسم 25 من الفصل الخامِس من تشريع حقوق التَّأليف والنَّشر الهندي الصَّادِر في عام 1957م. تُحتسَب هذه المدة بدءاً من بداية السنة الميلادية التَّالية لسنة النَّشر، مثلاً، في سنة 2024، تكون الأعمال المَنشُورة قبل 1 يناير 1964 في النِّطاق العامِّ.
  • تصبح الأعمال المنشورة بعد وفاة المُؤَلِّف (المغايرة لما سبق) في النِّطاق العامِّ بعد 60 عاماً من تاريخ نشرها للمرة الأولى. أمَّا الأعمال الأخرى جميعها فتًصبح في النِّطاق العامِّ بعد 60 عاماً من وفاة مُؤلِّفها.
  • لا تخضع القوانين والآراء التَّشريعية وتقارير الحكومة لحقوق التَّأليف والنَّشر.
  • تقع الصُّور الضَّوئيَّة التي التقطت قبل 1964 النِّطاق العام بعد 50 عاماً من تاريخ التقاطها حسب تشريع حقوق التَّأليف والنَّشر الصَّادِر عام 1911م.

أنتَ أيضاً مُلزمٌ بتضمين وسم النَّطاق العامّ لتحديد السبب الَّذي يجعلُ من هذا العمل مِلكيَّةً عامةً في الولايات المُتحدة الأمريكيَّة

العربيَّة | বাংলা | Deutsch | English | français | हिन्दी | italiano | 日本語 | ಕನ್ನಡ | македонски | മലയാളം | मराठी | Nederlands | português do Brasil | sicilianu | தமிழ் | ತುಳು | اردو | 繁體中文 | +/−

تاريخ الملف

اضغط على زمن/تاريخ لرؤية الملف كما بدا في هذا الزمن.

زمن/تاريخصورة مصغرةالأبعادمستخدمتعليق
حالي18:13، 8 أكتوبر 2012تصغير للنسخة بتاريخ 18:13، 8 أكتوبر 20121٬498 × 2٬000 (1٫01 ميجابايت)commonswiki>Donaldduck100VicuñaUploader 1.15

ال1 ملف التالي مكررات لهذا الملف (المزيد من التفاصيل):

الصفحة التالية تستخدم هذا الملف: