. Englisch: Der Ursprung der Musik: Seite aus einem Basawan Tutinama Manuskript zugeschrieben (Indisch, aktive Ca. 1556-1600) Datum: 1565 - 70 Kultur: Indien (Mughal Hof in Delhi) Medium: Undurchsichtig Aquarell und Tusche auf Papier Abmessungen: Bild: 3 15/16 x 4 1/16-in. (10 x 10,3 cm) Insgesamt: 8 1/2 x 5 1/2 in. (21,6 x 14 cm) Einstufung: Gemälde Kreditlinie: Fastenzeit durch das Cleveland Museum of Art, Geschenk von Frau Dean A. Perry, 1962.279.110. b Rechte und Reproduktion: Das Cleveland Museum der kunst, Geschenk von Frau Dean A. Perry, 1962.279.110. b Dieses Kunstwerk wird nicht auf dem Display freigeben Beschreibung Die iranische Legende der

• Bildanbieter: The Picture Art Collection / Alamy Stock Foto
• Bild-ID: MWTDC8
• Dateigröße: 14,3 MB (906,2 KB Komprimierter Download)
• Freigaben (Releases): Model - nein | Eigentum - nein
• Format: 1831 x 2729 px | 15,5 x 23,1 cm | 6,1 x 9,1 inches | 300dpi

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Dieses Bild ist ein gemeinfreies Bild. Dies bedeutet, dass entweder das Urheberrecht dafür abgelaufen ist oder der Inhaber des Bildes auf sein Urheberrecht verzichtet hat. Alamy berechnet Ihnen eine Gebühr für den Zugriff auf die hochauflösende Kopie des Bildes.

Dieses Bild kann kleinere Mängel aufweisen, da es sich um ein historisches Bild oder ein Reportagebild handel

. English: The Origin of Music: Page from a Tutinama Manuscript Attributed to Basawan (Indian, active ca. 1556–1600) Date: 1565–70 Culture: India (Mughal court at Delhi) Medium: Opaque watercolor and ink on paper Dimensions: Image: 3 15/16 x 4 1/16 in. (10 x 10.3 cm) Overall: 8 1/2 x 5 1/2 in. (21.6 x 14 cm) Classification: Paintings Credit Line: Lent by The Cleveland Museum of Art, Gift of Mrs. Dean A. Perry, 1962.279.110.b Rights and Reproduction: The Cleveland Museum of Art, Gift of Mrs. Dean A. Perry, 1962.279.110.b This artwork is not on display Share Description The Iranian legend of the mythical bird the Mausiqar, which provides the seven notes that are said to comprise the origin of music, is the inspiration for this composition. The bird that serves as the musician’s muse almost goes unnoticed, while attention focuses on the vina player seated on a beautiful rug. This work aspires to invoke aesthetic pleasure (rasa), and music is deemed a means to stimulate love: “What enchantment was hidden in last night’s potion! I lost my head but [it was] not a drunken sensation.” The reworking of this painting recently has been attributed by John Seyller to the young Basawan, the Iranian painter recruited to Akbar’s atelier who became Akbar’s personal favorite. Basawan’s participation in this project was first identified by Pramod Chandra in 1976. That the Tutinama was Mughalized during the period the Hamzanama was in production is witnessed by the treatment of such signature motifs as the shield, sword, and bow, as well as the quiver hung on a tree, a device directly repeated in a number of Hamzanama paintings. About the Artist Basawan Active ca. 1556–1600, at the Mughal court; father of Manohar Basawan joined Akbar’s atelier at Delhi as a young Hindu recruit and was involved in every major manuscript production throughout his emperor’s reign. Abu’l Fazl recorded that Basawan surpassed all in composition, drawing of features, distribution of

Stockbilder mithilfe von Tags suchen

• aktiv ca
• um 1565-70 n / a basawan-indianer zugeschrieben