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208. Jahangir Preferring a Sufi Shaikh to Kings

Bichitr

c. 1620 C.E.

Watercolor, gold, and ink on paper

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187. Folio from a Qu'ran

Arab, North Africa, or Near East Abbasid

c. eighth to ninth century C.E.

Ink, color, and gold on parchment

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Jahangir Preferring a Sufi Shaikh to Kings comes from the Mughal Dynasty in India. It was part of a muraqqa' or album attributed to Emperor Jahangir, who was known for his spirituality. Depicted is emperor Jahangir, sitting on a large stool with golden flames and a halo radiating from his head symbolizing his spirituality and power. He is larger than all other figures, showing his power and importance (hierarchy of scale). In front of him are four men of various ethnicity standing in a receiving line on an elaborate carpet. A Sufi Shaikh receives the gifted book, showing the emperor favors him. The Shaikh takes the book in his shawl as it is forbidden to touch the emperor. He has abandoned all finery on his spiritual journey, directly contrasting the emperor's extravagance. Below him is an unidentified Ottoman Sultan in a pose of humility, bowing his head to the emperor. Below the sultan is King James II of England, he stares directly at the viewer in a rigid pose that makes him seem uneasy. Below King James is the artist, Bichitr, in a yellow jama (robe), indicating he is Hindu. While this is a Muslim work, it was created by a Hindu artist. Putti, the cherub-like figures, look away from the emperor, they are distraught that his time on Earth is running out. Inscriptions in cartouches explain the scene, stating that Jahangir prefers holy men over kings. The artist has signed the stool on which the emperor sits, a prominent spot meant to show his importance.

The image has two borders: the outermost border is made up of colorful floral and vegital motifs. The innermost border is a more uniform monochrome blue, made up of a repeating pattern of floral and vegital designs.

Bichtr was a favored artist of the Mughal court because of his proficiency in portraiture and impressive rendering of hands. This piece was intended to show the religious orientation of Jahangir and his preference for Sufism and Sufi Shaikhs. It also shows the hierarchy of world leaders as seen by the Mughals, with Muslim and spiritual leaders shown as more important. This work also reflects Western influence in its inclusion of King James and cherub-like figures that can be seen in many European art works. King James's rendering mimics English portraits and shows England's involvement in Indian politics at the time.

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This is a section from the Qu'ran, the Muslim holy book, written in Kufic script. Kufic script is a type of Arabic calligraphy that has very rigid verticals and horizontals and is meant to be read from left to right. In this text, the vowels are written, which is unusual for many Arabic texts. The vowels are indicated as dots and markings around the script in this text because of its importance, to prevent it from being misread. Diagonals and red dots indicate vocalizations. Words are spaced for emphasis. Pyramids of six gold discs mark the ends of ayahs or verses.

Surah illustrations appear in gold, these are illustrations that utilize calligraphy, calligraphy becomes its own art. This is Surah 29, which states that anyone who follows a deity other than Allah is like a spider that builds a flimsy home.

At this time, the Qu'ran, Which means "recitation," was meant to be memorized so this text acted more as a mnemonic device than a text that was meant to be read. Many people would probably have used it as once as well, so text had to be clear enough to read from afar. Ornamentation and rare materials shows wealth and power of the patron. Calligraphy was also extremely prized in Islam, only the best calligraphy artists could work on a Qu'ran.

Qu'rans were compiled in the mid-seventh century but were rarely written down, the oldest surviving Qu'ran is from the ninth century.

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Hierarchy of scale - figures of greater importance or higher status are depicted as larger to symbolize their power.

Cartouche - a design element representing a scroll, often with curved ends. Used ornamentally to bear inscriptions.

Shaikh - A Sufi Muslim holy man.

Jama - a robe worn by Hindu spiritualists.

Putti - cherub-like figures that come from Western art and were adopted by many Indian artists.

Vegital motifs - motifs and patterning meant to look like plants.

Muraqqa' - an album or folio that contains painting and calligraphy. Dedicated to rulers and important people to show their achievements, power, etc.

Mughals - Muslim rulers of India.

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Qu'ran - the Muslim holy book.

Kufic script - a type of Arabic calligraphy characterized by strong verticals and long horizontals. Read from left to right.

Surah illustrations - Surah are sections of the Qu'ran. Surah illustrations are illustrations of calligraphy; calligraphy as an art.

Ayahs - verses in the Qu'ran

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190. The Court of Gayumars, folio from Shah Tahmasp's Shahnama. Sultan Muhammad. c. 1522 - 1525 CE. Ink, opaque water color, and gold on paper.

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The Court of Gayumars is an image from one page within Shah Tahmasp's Shanama, the Persian book of kings. The book is based on an epic poem detailing the history of Persia, beginning with the first king. According to legend, Gayumars was the first king of Persia. The illustration depicts him seated cross-legged, with his son and grandson to his sides and members of his court below him. The background is of a richly vegetated and mountainous landscape. The mastery of Sultan Muhammad, the creator, is seen through the intensity of colors, fine detail, and minute scale. A Shanama functioned as a guide for benevolent and just rule. This specific commission by Shah Tahmasp worked to legitimize his reign by connecting their relatively new state to the mythic origins of Persian history.

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201. Travelers among Mountains and Streams. Fan Kuan. c 1000 CE. Ink and colors on silk.

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Travelers among Mountains and Streams is a 9 foot long hanging scroll. The artist, Fan Kuan, utilized many different brushstrokes to make a wide range of textures. The massive scale heightens the sense of vastness and space, with giant trees and peaks dwarfing the people pictured. The work shows a few small travelers, with their donkeys walking in a mountainous landscape, and a waterfall in the background. A solid screen of rock takes up 2/3 of the picture. This lack of emphasis on the human figures, instead choosing to focus on the landscape was due to the popularity of Neo-Confucian philosophy at the time. Neo-Confucian philosophy embraced finding absolute truth in nature and self-cultivation. The work altogether is meant to show the cosmic vision of man's harmonious existence in the vast but ordered universe, as well as show the dominance of nature and relative insignificance of humans within it.

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205. (1417 – 1475) 

Imperial Bureau of Painting 

c. 15th century C.E.  

Hanging scroll (ink and color on silk)

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Traditional korean portrait which in this case is used for the showing of political status. this additionally shows confusion values. the attention to detail and symbolic representation of dignity further portrey realism and the cultures idealization. This work is ink and color on silk. The charecter is a scholar as well as a three time prime minister. He is seen wearing a rank badge showing his civil status.

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Islamic; Persian, IlKhanid  - 1330 to 1340 C.E. - Ink and opaque watercolor, gold, and silver on paper

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211. Under the Wave Off Kanagawa

(Kanagawa Oki Nami Ura)

Also known as the Great Wave,

From the series thirty-six views of

Mount Fuji

Katsushika Hokusai

1830-1833 C.E.

Polychrome woodblock print;

Ink and color on paper

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211. Under the Wave Off Kanagawa

(Kanagawa Oki Nami Ura)

Also known as the Great Wave,

From the series thirty-six views of

Mount Fuji

Katsushika Hokusai

1830-1833 C.E.

Polychrome woodblock print;

Ink and color on paper

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This work is a ukiyo-e print that uses bright, blocked colors and thin line work. Composition frames Mount Fuji, and waves show the grandeur of nature. We see three fishing boats about to be swallowed by the wa.ve. Influenced by Dutch learning, it was also some of the first Japanese art to enter the Western world. It was made during a time of extreme isolationism.