User:Mmille12/Abu'l-Hasan (artist)
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[edit]There are not that many sources available in English for Abu'l-Hasan, so it is not a surprise that the article is short. However, I did go through the source material and found that some of the things in the wiki article were misinterpreted (the emperor did not train Abu'l-Hasan, for instance). There could be more citations used and with more sources, it could be good to flesh out Abu'l-Hasan's career and add to the information on his artwork. I hesitated to change or delete what has already been published, but I do think I will change what was written about the squirrel painting just because I don't believe all that is written is universally acknowledged.
Evaluation
[edit]Altogether, I think it was a good beginning Wikipedia article that mostly comes across objectively and intending to follow the sources. Given the dearth of research, the biography section is about as extensive as it will be until further research is published. It wasn't entirely accurate, but that was mostly because of a misinterpretation. The section on his artwork, however, does seem rather limited and can be expanded.
Article Draft
[edit]Lead
[edit]Abu'l-Hasan (or Abu al-Hasan) (1589 – c. 1630), from Delhi, India, was a Mughal painter of miniatures in the reign of Jahangir.
Article body
[edit]Biography
Abu al-Hasan was the son of Aqa Reza of Herat in western Afghanistan, a city with an artistic tradition. Aqa Reza was established as an artist and had taken up employment with Jahangir (r. 1605-1627) before the latter's accession to the throne of the Mughal empire.[1] But Abu al-Hasan was favored by the emperor, Jahangir, who considered Abu al-Hasan to be superior to his father in terms of technical and artistic skill.[2] In 1599, Abu al-Hasan moved with Jahangir to his newly founded court in Allahabad[3].
The emperor considered Abu al-Hasan to be particularly special to him and under his care[1]. This is because although Abu al-Hasan’s artwork was similar in many ways to his father’s with Dutch and English influence, it was considered to be superior.[2] Jahangir said of Abu al-Hasan that he had no equal and bestowed the title Nadir-uz-Saman ("Wonder of the Age") on him. In this highly influential position, Abu al-Hasan’s career aligns with developments in the style of Mughal paintings[1].
The works
Jahangir Shoots Malik 'Anbar (c.1620)
Emperor Jahangir Triumphing over Poverty (c. 1620-1625)
Los Angeles County Museum of Art
Durbar Scene of Jahangir (c. 1615)
Unlike in the Allegorical Representation of Emperor Jahangir and Shah 'Abbas of Persia, Abu'l 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".[4]
Allegorical Representation of Emperor Jahangir and Shah 'Abbas of Persia (c. 1618)
This painting was inspired, according to Abu'l Hasan, by a dream. It depicts Jahangir and Abbas in a political painting in which Mughal emperor, Jahangir is in a more powerful position, standing on a lion, embracing the shorter Abbas who is standing on a small lamb and cannot fully reach around Jahangir's body.[4]
The Mughal Emperor Jahangir with Radiant Gold Halo, Holding a Globe (c. 1617)
Sotheby's Picture Library, London
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 was painted in Mandu. The Persian verses espouse the emperor's greatness in the context of other world empires. Again, there the globe isn't labeled.[4]
Squirrels in a Plane Tree (c. 1610)
Abu al-Hasan's main task was the documentation of events at the imperial court, which resulted in many superb portraits. Portraits were the hallmark of Jahangir’s rule.[3] 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. He also worked on political paintings that put the emperor and Mughal empire in a positive and powerful light[4].
One of the most famous painting associated with his name, Squirrels in a Plane Tree, is a masterful depiction of animal posture and movement that could only have been derived from direct observation. Since the painting depicts European squirrels unknown in India his work suggests that Jahangir's zoo may have held a few of these animals. Alternatively Abu al-Hasan may have accompanied Jahangir on one of his travels. The signature on the painting is confusing; Nadir al-Asr ("Miracle of the Age") is the title of Ustad Mansur, not of Abu al-Hasan, but the painting is definitely not Ustad Mansur's style. It is possible that both painters collaborated on this painting.
Jahangir entertains Abbas (c. 1620)
Although the scene depicted in this painting never took place, it shows the reception of the Safavid Shah 'Abbas I by the Mughal emperor. Within the painting are many objects and people used to elevate the Mughal court and Emperor Jahangir with international and status symbols. A notable example is the Diana Automaton.[5]
References
[edit]- ^ a b c "b1048212 1". libmma.contentdm.oclc.org. Retrieved 2021-05-13.
- ^ a b Beach, Milo Cleveland (1992-09-24). Mughal and Rajput Painting. Cambridge University Press. ISBN 978-0-521-40027-5.
- ^ a b "1600–1660: Mughal painting and the rise of local workshops", Mughal and Rajput Painting, Cambridge University Press, pp. 68–156, 1992-09-24, ISBN 978-0-521-40027-5, retrieved 2021-05-13
- ^ a b c d Ramaswamy, Sumathi (2007-10). "Conceit of the Globe in Mughal Visual Practice". Comparative Studies in Society and History. 49 (4): 751–782. doi:10.1017/s0010417507000758. ISSN 0010-4175.
{{cite journal}}: Check date values in:|date=(help) - ^ Keating, Jessica (2015-08-17). "Metamorphosis at the Mughal Court". Art History. 38 (4): 732–747. doi:10.1111/1467-8365.12178. ISSN 0141-6790.
- Juneja, Monica. "On the Margins of Utopia—One More Look at Mughal Painting." The Medieval History Journal 4, no. 2 (2001): 203-240.
- Keating, Jessica. "Metamorphosis at the Mughal Court." Art History 38, no. 4 (2015): 732-747.