Youth by a flowering tree, by Farrukh Beg (recto), Persian and Chaghatay Turkish calligraphy by Mir `Ali (verso), folio from the Minto Album

Name: Youth by a flowering tree, by Farrukh Beg (recto), Persian and Chaghatay Turkish calligraphy by Mir `Ali (verso), folio from the Minto Album
Author: Farrukh Beg, attributed to, Mir `Ali Haravi

İsim	Youth by a flowering tree, by Farrukh Beg (recto), Persian and Chaghatay Turkish calligraphy by Mir `Ali (verso), folio from the Minto Album
Yazar	Farrukh Beg, attributed to, 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_4793
Lokasyon	Available Online
Tarih	1505
Örnek Metin	Youth by a flowering tree, by Farrukh Beg (recto), Persian and Chaghatay Turkish calligraphy by Mir `Ali (verso), folio from the Minto Album. A young man stands by flowering trees, holding a striped sash. Looking toward the right, he may have been painted as a deliberate pendant to a Bijpuri painting of another young man (In 07A.17), attributed to `Abd al-Karim. Mughal emperor Jahangir added the side-note (right), stating that this is "the work of Farrukh Beg, who drew it in his seventieth year", dateable to 1615. A notably flexible artist, Farrukh Beg had come to the Mughal court from Kabul in 1585, and worked on manuscript projects for Jahangir's father Akbar. On the other side of this folio, the sixteenth-century Persian calligraphy of Mir `Ali has been embellished by a Mughal painter with a lively backdrop of colourful birds among trees. 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-outlined floral borders, youth by a flowering tree, twice inscribed Farrukh Beg "in his seventieth year" (recto), lines of Persian (centre) and Chaghatay Turkish (border panels, by Mir `Ali Shir Nava'i) calligraphy signed Mir `Ali, with background painting of birds in landscape (verso), from the Minto Album, calligraphy possibly Bukhara (Uzbekistan), c. 1505-45, painting Ajmer, 1615, album page Agra, India, c. 1620-40.
Kaynak	Europeana Collections

Kaynağa git Pompeu Fabra Üniversitesi Kütüphanesi Pompeu Fabra University Library

Aramaya Dön

Pompeu Fabra Üniversitesi Kütüphanesi

Kaynağa git

Youth by a flowering tree, by Farrukh Beg (recto), Persian and Chaghatay Turkish calligraphy by Mir `Ali (verso), folio from the Minto Album

Yazar Farrukh Beg, attributed to, 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_4793

Lokasyon Available Online

Tarih 1505

Örnek Metin Youth by a flowering tree, by Farrukh Beg (recto), Persian and Chaghatay Turkish calligraphy by Mir `Ali (verso), folio from the Minto Album. A young man stands by flowering trees, holding a striped sash. Looking toward the right, he may have been painted as a deliberate pendant to a Bijpuri painting of another young man (In 07A.17), attributed to `Abd al-Karim. Mughal emperor Jahangir added the side-note (right), stating that this is "the work of Farrukh Beg, who drew it in his seventieth year", dateable to 1615. A notably flexible artist, Farrukh Beg had come to the Mughal court from Kabul in 1585, and worked on manuscript projects for Jahangir's father Akbar. On the other side of this folio, the sixteenth-century Persian calligraphy of Mir `Ali has been embellished by a Mughal painter with a lively backdrop of colourful birds among trees. 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-outlined floral borders, youth by a flowering tree, twice inscribed Farrukh Beg "in his seventieth year" (recto), lines of Persian (centre) and Chaghatay Turkish (border panels, by Mir `Ali Shir Nava'i) calligraphy signed Mir `Ali, with background painting of birds in landscape (verso), from the Minto Album, calligraphy possibly Bukhara (Uzbekistan), c. 1505-45, painting Ajmer, 1615, album page Agra, India, c. 1620-40.

Kaynak Europeana Collections