Portrait of Shāhnavāz Khān Ṣafavī (d. 1659) by Hāshim (recto), Persian calligraphy by Mīr `Alī (verso), folio from the Minto Album

Name: Portrait of Shāhnavāz Khān Ṣafavī (d. 1659) by Hāshim (recto), Persian calligraphy by Mīr `Alī (verso), folio from the Minto Album
Author: Hashim, Mir `Ali Haravi

İsim	Portrait of Shāhnavāz Khān Ṣafavī (d. 1659) by Hāshim (recto), Persian calligraphy by Mīr `Alī (verso), folio from the Minto Album
Yazar	Hashim, Mir `Ali Haravi
Basım Tarihi:	1505
Tür	Resim
Dil	Arapça
Dijital	Evet
Yazma	Hayır
Kütüphane:	Pompeu Fabra Üniversitesi Kütüphanesi
Kayıt Numarası	cdi_europeana_collections_1100_5958
Lokasyon	Available Online
Tarih	1505
Örnek Metin	Portrait of Shāhnavāz Khān Ṣafavī (d. 1659) by Hāshim (recto), Persian calligraphy by Mīr `Alī (verso), folio from the Minto Album. Many of the Mughal emperors ordered full-length profile portraits of senior court figures, arranged together in albums (muraqqa`). Son of Iranian exile Mirza Rustam Safavi, Shahnawaz Khan Safavi had served Shah Jahan as a military officer and government official close to the royal family. Towards the end of his life, Shah Jahan was imprisoned by his rebellious son Awrangzib, who killed the heir apparent Dara Shikoh (his brother) in 1659, and took control. Shahnawaz Khan was killed in battle the same year, fighting Awrangzib in the war of succession. This portrait was in the captive Shah Jahan's possession, presumably in an intact royal album. The emperor wrote a note beside the painting (on the left): "A likeness of the martyred Shahnawaz Khan, the best of Mirza Rustam’s sons". The "Minto Album" refers to a set of forty album pages, now in the collections of the Chester Beatty and the Victoria and Albert Museum (London). Together with two other known sets of album pages (the "Wantage Album" also in the V&A, and the "Kevorkian Album" in the Metropolitan Museum (New York) and the Freer-Sackler Museum (Washington, DC)), these dispersed folios were originally part of several imperial Mughal Indian albums, owned by Jahangir (r. 1605-1627) and his son Shah Jahan (r. 1628-1658). The exact reconstruction (and even the number) of those original court albums is much complicated by later reformatting of the folios and their contents, rearranged into new groups, and with works re-set among later additions in new albums. As a broad group, these Mughal albums represent an extraordinary art collection: contemporary portraits of rulers, officials, soldiers and holy men, private scenes of palace life, and animal studies, contrasted with a more consistent series of older Persian calligraphic works by the renowned Mir `Ali Haravi (d. 1544), re-framed in new Mughal surroundings. His large, signed "exhibition piece" calligraphy lines were produced as standalone quotations; much smaller lines of calligraphy were cut from small-format "safina" books of poetry, and arranged as border elements throughout the albums. The works were also planned in pairs, to face one another on a page-opening, in a carefully curated layout. Images faced images, and calligraphy faced calligraphy. Both rulers added their notes and commentary to many of the images, identifying painters or commenting on the sitter of a portrait. Most dramatically, all of these works on paper are mounted in decorated album pages, which follow distinct design programmes throughout the albums. Informed by European botanical print illustrations, these may depict flowering plant specimens and flying insects, painted in gold against dark blue or cream backgrounds, or in bright colour, gold-outlined against cream paper. More stylised border designs drawing from Iran organise leafy floral stems in spiralling scrollwork, ordered trellis or pinned among palmette strapwork and lobed medallions, against cream or dark blue grounds. These different border modes are dateable, as they follow shifts in Mughal taste under Jahangir (for the gold-painted plants on deep blue or cream), and Shah Jahan (for the orderly colourful plants on cream ground). Visually, these borders hold the album sequence together, with their designs of great vivacity. Folio, ink, colours and gold on paper, mounted on album page with gold-painted borders, profile portrait of Shāhnavāz Khān Ṣafavī (d. 1659) holding a rose, signed Hāshim in gold, with additional annotation by Shah Jahan ("A likeness of the martyred Shāhnavāz Khān, the best of Mīrzā Rustam’s sons", left margin), framed with Persian calligraphy on gold-painted floral dark blue borders (on recto), Persian calligraphy (qiṭ`a) in nasta`liq, quoting the Garden (Būstān) by Sa`di, by Mīr `Alī al-Haravī (signed “al-faqīr `Alī), on borders with painted bird pairs and gold foliate scrolls and stars (on verso), from the Minto Album, verso calligraphy Herat (Afghanistan) or Bukhara (Uzbekistan), c. 1500-1545, portrait Agra, c. 1615-20, album page Agra, India, c. 1615-1620.
Kaynak	Europeana Collections

Kaynağa git Pompeu Fabra Üniversitesi Kütüphanesi Pompeu Fabra University Library

Aramaya Dön

Pompeu Fabra Üniversitesi Kütüphanesi

Kaynağa git

Portrait of Shāhnavāz Khān Ṣafavī (d. 1659) by Hāshim (recto), Persian calligraphy by Mīr `Alī (verso), folio from the Minto Album

Yazar Hashim, Mir `Ali Haravi

Basım Tarihi 1505

Tür Resim

Dil Arapça

Dijital Evet

Yazma Hayır

Kütüphane Pompeu Fabra Üniversitesi Kütüphanesi

Kayıt Numarası cdi_europeana_collections_1100_5958

Lokasyon Available Online

Tarih 1505

Örnek Metin Portrait of Shāhnavāz Khān Ṣafavī (d. 1659) by Hāshim (recto), Persian calligraphy by Mīr `Alī (verso), folio from the Minto Album. Many of the Mughal emperors ordered full-length profile portraits of senior court figures, arranged together in albums (muraqqa`). Son of Iranian exile Mirza Rustam Safavi, Shahnawaz Khan Safavi had served Shah Jahan as a military officer and government official close to the royal family. Towards the end of his life, Shah Jahan was imprisoned by his rebellious son Awrangzib, who killed the heir apparent Dara Shikoh (his brother) in 1659, and took control. Shahnawaz Khan was killed in battle the same year, fighting Awrangzib in the war of succession. This portrait was in the captive Shah Jahan's possession, presumably in an intact royal album. The emperor wrote a note beside the painting (on the left): "A likeness of the martyred Shahnawaz Khan, the best of Mirza Rustam’s sons". The "Minto Album" refers to a set of forty album pages, now in the collections of the Chester Beatty and the Victoria and Albert Museum (London). Together with two other known sets of album pages (the "Wantage Album" also in the V&A, and the "Kevorkian Album" in the Metropolitan Museum (New York) and the Freer-Sackler Museum (Washington, DC)), these dispersed folios were originally part of several imperial Mughal Indian albums, owned by Jahangir (r. 1605-1627) and his son Shah Jahan (r. 1628-1658). The exact reconstruction (and even the number) of those original court albums is much complicated by later reformatting of the folios and their contents, rearranged into new groups, and with works re-set among later additions in new albums. As a broad group, these Mughal albums represent an extraordinary art collection: contemporary portraits of rulers, officials, soldiers and holy men, private scenes of palace life, and animal studies, contrasted with a more consistent series of older Persian calligraphic works by the renowned Mir `Ali Haravi (d. 1544), re-framed in new Mughal surroundings. His large, signed "exhibition piece" calligraphy lines were produced as standalone quotations; much smaller lines of calligraphy were cut from small-format "safina" books of poetry, and arranged as border elements throughout the albums. The works were also planned in pairs, to face one another on a page-opening, in a carefully curated layout. Images faced images, and calligraphy faced calligraphy. Both rulers added their notes and commentary to many of the images, identifying painters or commenting on the sitter of a portrait. Most dramatically, all of these works on paper are mounted in decorated album pages, which follow distinct design programmes throughout the albums. Informed by European botanical print illustrations, these may depict flowering plant specimens and flying insects, painted in gold against dark blue or cream backgrounds, or in bright colour, gold-outlined against cream paper. More stylised border designs drawing from Iran organise leafy floral stems in spiralling scrollwork, ordered trellis or pinned among palmette strapwork and lobed medallions, against cream or dark blue grounds. These different border modes are dateable, as they follow shifts in Mughal taste under Jahangir (for the gold-painted plants on deep blue or cream), and Shah Jahan (for the orderly colourful plants on cream ground). Visually, these borders hold the album sequence together, with their designs of great vivacity. Folio, ink, colours and gold on paper, mounted on album page with gold-painted borders, profile portrait of Shāhnavāz Khān Ṣafavī (d. 1659) holding a rose, signed Hāshim in gold, with additional annotation by Shah Jahan ("A likeness of the martyred Shāhnavāz Khān, the best of Mīrzā Rustam’s sons", left margin), framed with Persian calligraphy on gold-painted floral dark blue borders (on recto), Persian calligraphy (qiṭ`a) in nasta`liq, quoting the Garden (Būstān) by Sa`di, by Mīr `Alī al-Haravī (signed “al-faqīr `Alī), on borders with painted bird pairs and gold foliate scrolls and stars (on verso), from the Minto Album, verso calligraphy Herat (Afghanistan) or Bukhara (Uzbekistan), c. 1500-1545, portrait Agra, c. 1615-20, album page Agra, India, c. 1615-1620.

Kaynak Europeana Collections