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Jahangir Preferring a Sufi Shaikh to Kings

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Jahangir Preferring a Sufi Shaikh to Kings

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Bichitr

c.1620

Watercolor, gold, and ink on paper

Free Gallery of Art, Washington, D.C.

Jahangir Preferring a Sufi Shaikh to Kings is a work made by Bichitr in 1620 with watercolor, gold, and ink on paper. It is currently displayed at the Free Gallery of Art, Washington, D.C. It depicts Jahangir's desire for spirituality over his own position as a political leader. Jahangir is shown with a halo, referencing European religious works, and handing a book to the Sufi Sheik. Two other political leaders (The Ottoman Sultan and King James I of England) are shown, however, holy men are placed at a higher rank since they are more prominent in the portrait. The purpose of the work is to represent the importance of spiritual life over worldly power and commemorate Jahangir as a political leader. This is shown using a hierarchical scale with Jahangir as the most important followed by the holy men and the political leaders at the bottom (least important). This work also depicts cross-cultural influences from Europeans such as the Renaissance carpet in the background, depictions of small cherubs and the use of a halo. Meant to show Jahangir's influence and respect for religion as well as commemorate him as a strong leader.

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Jahangir preferring a Sufi Shaikh to kings

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Imperial Bureau of Painting

c. 1417-1475

Hanging Scroll

Ink and Color on Silk

The Portrait of Sin Sukju is a hanging scroll made at the Imperial Bureau of Painting between 1417-1475 using ink and color on silk. It was a highly desired product made for someone of high status. It depicts Sin Sukju in a formalized posture with traditional attire in a full length view of his body. Brush strokes are clean and angular with shading in his gown. Meticulous details used on his face to create a work of realism contrast the bold, solid colors used on the rest of his body. He wears a rank badge on his chest (an insignia of embroidered silk) meant to indicate his status. His badge depicts a pair of peacocks with flowering plants among clouds. Sin Sukju was a prime minister in Korea who also served as a soldier and a scholar (was involved in the creation of the modern Korean alphabet). This portrait was made to depict him as a powerful leader (shown with his badge) and commemorate him as an ancestor after his death. After his death the portrait has been repainted many times as a way to commemorate him further and memorialize him for future generations. The work itself was likely used for private worship, however, it was still meant to Revere Sin Sukju as a leader and an ancestor.

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Night Attack on the Sanjō Palace is a 13th-century Japanese handscroll that illustrates a key event from the Heiji Rebellion. It depicts the violent attack on the Sanjō Palace in Kyoto, where forces led by the Minamoto clan abducted the Emperor Go-Shirakawa. The palace is shown engulfed in flames as samurai warriors storm through, slaughtering guards and dragging the emperor away.

Created during the Kamakura period, the scroll is a prime example of warrior painting known for its energetic brushwork and emotional intensity. It uses a continuous narrative style. It serves as a historical record and also reflects the violent political struggles of the time and the growing power of the samurai class.

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190: The Court of Gayumars, Folio from Shah Tahmasp’s Shanama

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190: The Court of Gayumars, Folio from Shah Tahmasp’s Shanama

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The Court of Gayumars is a famous painting from the Shahnameh of Shah Tahmasp, made in the early 1500s during the Safavid dynasty. It was painted by Sultan Muhammad and is considered one of the best examples of Persian miniature art. The painting shows Gayumars, the first king of Persia, sitting high above his court in a beautiful, colorful landscape. He is surrounded by his people, and the scene looks peaceful and full of life.

The painting uses bright colors like gold, blue, and green, and the details of the trees, animals, and clothing are intricately done. The scene feels magical, almost like a dream. It shows how important nature and kingship were in Persian culture.

Overall, The Court of Gayumars is not just a picture of a king—it’s a symbol of a perfect, golden time when humans lived in harmony with nature. It also shows the pride the Safavid rulers had in Persian history and art. The painting captures both the beauty of the world and the idea of a good, wise leader.

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- Katsushika Hokusai, 1830-1833. Polychrome woodblock print, Edo period, Japan.

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Under the Wave off Kanagawa is a dramatic scene depicting a massive wave crashing over 3 boats & their rowers, with a distant, calm Mount Fuji in the background. Created during a period of peace, prosperity, and isolation, Japanese art was flourishing, and the middle class was rising. This provided an opportunity for The Wave to be mass-produced and sold for popular consumption. The formal elements of this work later influenced movements such as Impressionism and post-Impressionism, with bold, curving lines, asymmetrical composition, and flat areas of color. The contrast between the energy of the wave and the serenity of Mount Fuji may be the most striking thing about this work.

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Fan Kuan, ink on silk, hanging scroll, c. 1000

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This hanging scroll is almost 7 feet tall, using scale to skillfully portray the depth of this landscape. In the background, a huge central mountain towers, seemingly rising out of a foggy chasm, with a plummeting waterfall down the side. In the foreground, 2 boulders rest at eye-level, and two men with donkeys can be seen amidst the wilderness. In order to model the mountains, Kuan used thickening-and-thinning contour, texture dots, and ink washes to craft their looming presence in this scene. In contrast, strong, sharp brushstrokes were used for the tree trunks, with detailed foliage. The Chinese saw mountains as sacred places in nature, even viewing them as homes for the "immortals." This work in particular is meant to express man's relationship to & existance within nature (heavily influenced by the Neo-Confucian ideals of this time.)