. Sultan Ibrahim Adil Shah II in sella al suo pregiato elefante, Atash Khan attribuito a Farrukh Beg Data: ca. Cultura 1600: India (Bijapur, Deccan) Medio: acquerello opaco e oro su carta di dimensioni: Immagine: 5 5/8 x 4 1/16 in. (14,3 x 10,3 cm) Classificazione: dipinti linea di credito: la Quaresima dalla collezione privata di diritti e riproduzione: Collezione privata questa illustrazione non è sul display Condividere Descrizione Questo dipinto è un omaggio al Sultan's pregiato elefante, la cui loda canta nel suo personalissimo brano letterario-versetto composizione, il Kitab-ho nauras. Le immagini di questi brani a

• Collaboratore: The Picture Art Collection / Alamy Foto Stock
• ID dell’immagine: MW19GM
• Dimensioni dei file: 14,3 MB (1,2 MB Download compresso)
• Liberatorie: Modello - no | Proprietà - no
• Dimensioni: 1987 x 2514 px | 16,8 x 21,3 cm | 6,6 x 8,4 inches | 300dpi

Altre informazioni

Questa foto è un'immagine di pubblico dominio, il che significa che il copyright è scaduto o che il titolare del copyright ha rinunciato a tale diritto. Alamy addebita un costo per l'accesso alla copia ad alta risoluzione dell'immagine.

Questa immagine potrebbe avere delle imperfezioni perché è storica o di reportage.

. Sultan Ibrahim Adil Shah II Riding His Prized Elephant, Atash Khan Attributed to Farrukh Beg Date: ca. 1600 Culture: India (Bijapur, Deccan) Medium: Opaque watercolor and gold on paper Dimensions: Image: 5 5/8 x 4 1/16 in. (14.3 x 10.3 cm) Classification: Paintings Credit Line: Lent by Private Collection Rights and Reproduction: Private Collection This artwork is not on display Share Description This painting is an homage to the Sultan’s prized elephant, whose praises he sings in his highly personal literary song-verse composition, the Kitab-i nauras. The imagery of these songs appears to inform many of the paintings commissioned by this acutely sensitive ruler. Here, the emperor had himself portrayed as the mahout, directing his beloved majestic elephant with a golden goad. Atash Khan is richly caparisoned, and his tusks are fitted with golden bands set with jewels. The attendant below is curiously dressed in European attire of the sixteenth century, presumably a whimsical detail borrowed from an imported engraving or miniature. Landscape forms defy the rules of nature, as do the chromatics of this picture. 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.

Parole chiave associate all'immagine

• 1600
• attributed
• farrukh implora
• n / a