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Farrukh Beg (ca. 1547), also known as Farrukh Husayn, was a Persian-born miniature painter, whose worked in five royal courts over his career, his work praised by [[Jahangir|Mughal Emperor Jahangir]] as “unrivaled in the age.”<ref name=":0">{{Cite book|url=https://www.worldcat.org/oclc/232605788|title="Farrukh Beg," The Grove encyclopedia of Islamic art and architecture|date=2009|publisher=Oxford University Press|others=Jonathan Bloom, Sheila Blair|isbn=0-19-530991-X|location=Oxford|oclc=232605788}}</ref> |
Farrukh Beg (ca. 1547), also known as Farrukh Husayn, was a Persian-born miniature painter, whose worked in five royal courts over his career, his work praised by [[Jahangir|Mughal Emperor Jahangir]] as “unrivaled in the age.”<ref name=":0">{{Cite book|url=https://www.worldcat.org/oclc/232605788|title="Farrukh Beg," The Grove encyclopedia of Islamic art and architecture|date=2009|publisher=Oxford University Press|others=Jonathan Bloom, Sheila Blair|isbn=0-19-530991-X|location=Oxford|oclc=232605788}}</ref><ref>{{Cite journal|last=Verma|first=S. P.|date=1978|title=FARRUKH BEG—THE MUGHAL COURT PAINTER|url=https://www.jstor.org/stable/44139370|journal=Proceedings of the Indian History Congress|volume=39|pages=360–367|issn=2249-1937}}</ref> |
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Farrukh Beg was credited with painting a plethora of Persian and Mughal miniature paintings, few of which survive today. His work showed his distinct training in Persian manuscript painting, which later on evolved to include more experimental techniques such as atmospheric perspective and modeling. Beg had produced miniature paintings under the patronage of five rulers in West Asia and South Asia: Safavid, Muhammad Hakim of Kabul, Mughal India under Akbar and later his son Jahangir and the Sultanate of Bijapur during his brief hiatus from the Mughal court.<ref>{{Cite journal|last=Overton|first=Keelan|date=2017-01-01|title=Farrukh Ḥusayn|url=https://referenceworks.brillonline.com/entries/encyclopaedia-of-islam-3/*-COM_27826|journal=Encyclopaedia of Islam, THREE|language=en|doi=10.1163/1573-3912_ei3_com_27826}}</ref> His distinct style came to be revered by his contemporaries. His life was later mired in mystery due to his sudden hiatus from the Mughal court sometime after 1590, rejoining the Mughal atelier around 1609. Recent evidence shows he spent a bulk of this time in Bijapur under the patronage of [[Ibrahim Adil Shah II]] of the Sultanate of Bijapur. <ref name=":0" />{{Dashboard.wikiedu.org draft template/about this sandbox}} |
Farrukh Beg was credited with painting a plethora of Persian and Mughal miniature paintings, few of which survive today. His work showed his distinct training in Persian manuscript painting, which later on evolved to include more experimental techniques such as atmospheric perspective and modeling. Beg had produced miniature paintings under the patronage of five rulers in West Asia and South Asia: Safavid, Muhammad Hakim of Kabul, Mughal India under Akbar and later his son Jahangir and the Sultanate of Bijapur during his brief hiatus from the Mughal court.<ref name=":3">{{Cite journal|last=Overton|first=Keelan|date=2017-01-01|title=Farrukh Ḥusayn|url=https://referenceworks.brillonline.com/entries/encyclopaedia-of-islam-3/*-COM_27826|journal=Encyclopaedia of Islam, THREE|language=en|doi=10.1163/1573-3912_ei3_com_27826}}</ref> His distinct style came to be revered by his contemporaries. His life was later mired in mystery due to his sudden hiatus from the Mughal court sometime after 1590, rejoining the Mughal atelier around 1609. Recent evidence shows he spent a bulk of this time in Bijapur under the patronage of [[Ibrahim Adil Shah II]] of the Sultanate of Bijapur. <ref name=":0" />{{Dashboard.wikiedu.org draft template/about this sandbox}} |
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== |
== Life and Tenure in Safavid Iran and Kabul == |
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Beg was born in modern-day Iran. He belonged to the [[Kalmyks|Kalmaq]] tribe, according to Akbar's vizier Abu'l Fazl, while some sources contest that he |
Beg was born in modern-day Iran. He belonged to the [[Kalmyks|Kalmaq]] tribe, according to Akbar's vizier [[Abu'l-Fazl ibn Mubarak|Abu'l Fazl]], while some sources contest that he originated from the [[Qashqai people|Qashqa’i]] tribe.<ref name=":0" /><ref name=":4">{{Cite journal|last=Das|first=A.K.|date=June 1998|title=Furrukh Beg: Studies of Adorable Youths and Venerable Saints.|journal=Marg|volume=Vol. 49, Issue 4.|pages=20-35}}</ref> He received his training in [[Greater Khorasan|Khurasan]] (located in modern-day northwest Iran). The earliest mention of Beg appears in a historical record by [[Iskandar Beg Munshi|Iskander Beg Munshi]], a court historian under Shah Abbas I, about the close companionship between Farrukh Beg and his brother Siyavush and Hamza Mirza, son of the reigning Safavid ruler, Shah Muhammad Khodabanda.<ref name=":1">{{Cite journal|last=Soudavar|first=Abolala|date=1999|title=Between the Safavids and the Mughals: Art and Artists in Transition|url=https://www.jstor.org/stable/4299994|journal=Iran|volume=37|pages=49–66|doi=10.2307/4299994|issn=0578-6967}}</ref> While working at the atelier of Ibrahim Mirza, the governor of [[Mashhad]], Farrukh Beg illustrated a manuscript of ''Haft Awrang'' (Seven Thrones) between 1570 and 1572.<ref name=":1" /> Beg's illustrated all but one painting in the manuscript, allowing to him form a homogenous iconographic style as reflected in the artwork.<ref name=":1" /> Farrukh Beg's early tutelage is indirectly attributed to Mirza Ali and Shaykh Muhammad, two prolific painters who belonged to the atelier of Ibrahim Mirza in Mashhad. However, no direct link has been established between the latter painters and Beg.<ref name=":1" /> |
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While the exact date of Beg's departure for Kabul is not recorded, his tenure under Muhammad Hakim, half-brother of [[Akbar|Mughal Emperor Akbar]], has been documented. While the extent of Beg's work for Muhammad Hakim is difficult to gauge due to lack of illustrations available, two tinted illustrations made under Hakim bear Beg's signature, housed in the Gulistan Palace Library in Tehran, Iran.<ref name=":3" /> In 1585 at the age of 40, after the death of Muhammad Hakim, he took his skills to the court of Mughal Emperor Akbar in Mughal India, either in Rawalpindi or Lahore.<ref name=":3" /><ref name=":2">{{Cite journal|last=Seyller|first=John|date=1995|title=Farrukh Beg in the Deccan|url=https://www.jstor.org/stable/3249754|journal=Artibus Asiae|volume=55|issue=3/4|pages=319–341|doi=10.2307/3249754|issn=0004-3648}}</ref><ref name=":5">{{Cite journal|last=Skelton|first=Robert|date=1957|title=The Mughal Artist Farrokh Beg|url=https://www.jstor.org/stable/4629045|journal=Ars Orientalis|volume=2|pages=393–411|issn=0571-1371}}</ref> |
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== Work at the Mughal Court under Akbar == |
== Work at the Mughal Court under Akbar == |
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Beg's arrival at Mughal court is documented by [[Abu'l-Fazl ibn Mubarak|Abu'l Fazl]] in the administrative record, [[Ain-i-Akbari]]''.'' Abu'l Fazl states "Farrukh Beg Musavvir and others received suitable robes and horses, and trays of mushers and rupees. Various favors were conferred upon them."<ref name=":5" /> Beg's first illustration in Akbar's atelier was the ''Khamsa of Nizami'', a Persian manuscript in which Beg embellished seven out of thirty-six illustrations. The composition and stylistic techniques of the ''Khamsa of Nizami'' illustrations' draw heavily from his previous work, ''Haft Awrang,'' under Safavid patronage.<ref name=":4" /> |
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Working in the Mughal atelier, Beg was frequently named as one of the most exceptional manuscript painters of his time in the [[Akbarnama]], the historical account of Akbar’s reign, along with the other renowned painters like [[Daswanth|Daswant]] and La’l.<ref>{{Cite journal|last=Skelton|first=Robert|date=1957|title=The Mughal Artist Farrokh Beg|url=https://www.jstor.org/stable/4629045|journal=Ars Orientalis|volume=2|pages=393–411|issn=0571-1371}}</ref> |
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He worked on the [[Baburnama]] and the [[Akbarnama]], both commissioned by Akbar as historical documentation of [[Babur]] and [[Akbar|Akbar’s]] reign. In the Akbarnama, some of Beg’s works include ''Akbar Enters Surat |
He worked on the [[Baburnama]] and the [[Akbarnama]], both commissioned by Akbar as historical documentation of [[Babur]] and [[Akbar|Akbar’s]] reign. In the Akbarnama, some of Beg’s works include ''Akbar Enters Surat'' and ''Mir Mu’izz al-Mulk'' ''and Afghan rebel'' ''Bahadur Khan meet in 1567.'' Beg’s work in the Baburnama include the illustration titled ''Babur Entertains in Sultan Imrahim Lodi’s Palace.'' <ref name=":2" /> |
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Working in the Mughal atelier, Beg was often singled out as one of the most exceptional manuscript painters of his time, along with the other renowned Mughal painters like [[Daswanth|Daswant]] and La’l.<ref>{{Cite journal|last=Skelton|first=Robert|date=1957|title=The Mughal Artist Farrokh Beg|url=https://www.jstor.org/stable/4629045|journal=Ars Orientalis|volume=2|pages=393–411|issn=0571-1371}}</ref> Farrukh Beg's renowned status at Akbar's court is seen through frequent mentions as "''nadir al-asr" (Wonder of the age)'' in [[Baburnama]] and [[Akbarnama]], conferred as part of the reward system instituted by Mughal rulers to exalt artists' workmanship.<ref name=":3" /><ref>{{Cite journal|last=Guy|first=John|date=September 2011|title=Wonder of the Age: Painting, Patronage and Global Vision in Early Mughal India.|journal=Orientations|volume=Vol.42, Issue. 2|pages=82-89}}</ref> |
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== Hiatus from Mughal Court and Later Return == |
== Hiatus from Mughal Court and Later Return == |
||
Around 1590, Beg took a brief leave from the Mughal court of Akbar. In 1957, scholar Robert Skelton proposed that Beg spent his sojourn in the Sultanate of Bijapur under the patronage of [[Ibrahim Adil Shah II]], a theory highly contested by scholars until evidence unearthed by art historians John Seyller and Ellen Smart confirmed this hypothesis.<ref name=":2" /><ref name=":5" /><ref>{{Cite book|last=Skelton|first=Robert|url=https://www.worldcat.org/oclc/761065461|title="Farrukh Beg in the Deccan: An Update," Sultans of the South : arts of India's Deccan Courts, 1323-1687|date=2011|publisher=Metropolitan Museum of Art|others=Navina Najat Haidar, Marika Sardar, Metropolitan Museum of Art|isbn=978-1-58839-438-5|location=New York|oclc=761065461}}</ref> The scholars ascertained a signature by Beg on a Deccan illustration titled ''Ibrahim Adil II Hawking'' (1598)'','' translated as "it is the work of Farrukh Beg" ''(aml-i Farrukh Beg ast).''<ref name=":2" /> The signature helped identify more paintings completed at the hand of Beg in the Sultanate of Bijapur, based on starkly similar stylistic choices and compositional renderings. His illustrations at the Deccan court also bear the name Farrukh Husayn. Other paintings by Beg during this period include ''Ibrahim Adil Shah plays the Lute'' (1600)'', Ibrahim Rides the Elephant Atish Khan, Bull Elephant'' (1600-1604) and ''Horse and Groom'' (1604).<ref name=":2" /> |
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Around 1590, Beg took a brief leave from the Mughal court and went to the Sultanate of Bijapur, under the patronage of [[Ibrahim Adil Shah II]]. The hypothesis that Farrukh Beg spent his hiatus years in Bijapur was first posed by scholar, Robert Skelton in 1957. Although initially met with some doubts, increasing scholarship affirms this theory of Beg’s sojourn in Bijapur. He was allegedly known as Farrukh Husayn in Bijapur. Some of the illustrations attributed to Beg from this period are ''Ibrahim Adil Shah Hawking, Ibrahim plays the lute, Ibrahim rides the Elephant Atish Khan'' and ''Horse and Groom.'' <ref>{{Cite journal|last=Seyller|first=John|date=1995|title=Farrukh Beg in the Deccan|url=https://www.jstor.org/stable/3249754|journal=Artibus Asiae|volume=55|issue=3/4|pages=319–341|doi=10.2307/3249754|issn=0004-3648}}</ref> |
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Around 1609, Beg returned to the Mughal Court, now under the rule of [[Jahangir|Emperor Jahangir]]. His return is dated by a mention in Jahangir’s memoirs |
Around 1609, Beg returned to the Mughal Court, now under the rule of [[Jahangir|Emperor Jahangir]]. His return is dated by a mention in Jahangir’s memoirs, which reports Jahangir bestowing 2,000 rupees on the “unrivaled” Farrukh Beg. <ref name=":5" /> Under the auspices of Jahangir, Beg worked on the Gulshan Muraqqa, an album of illustrations assembled by [[Jahangir]]. He also painted several folios, now separated from their original work and dispersed among collections around the world.<ref name=":3" /> The latest mention of Beg occurs in Iqbalnama-i Jahangiri, penned by |
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== Style and Technique == |
== Style and Technique == |
||
Beg’s early style is marked by an adherence to Persian painting lexicon, which he practiced under Safavid patronage before coming to Mughal India. Individualized figural portraits, geometric patterns in landscape and clothing, and planar and flat treatment of architecture were widespread in his illustrations.<ref>{{Cite journal|last=Soudavar|first=Abolala|date=1999|title=Between the Safavids and the Mughals: Art and Artists in Transition|url=https://www.jstor.org/stable/4299994|journal=Iran|volume=37|pages=49–66|doi=10.2307/4299994|issn=0578-6967}}</ref> He fully utilized these techniques in Mughal miniature paintings but later went on to incorporate atmospheric perspective and figural modeling in his paintings, primarily seen in his Bijapur period.<ref |
Beg’s early style is marked by an adherence to Persian painting lexicon, which he practiced under Safavid patronage before coming to Mughal India. Individualized figural portraits, geometric patterns in landscape and clothing, and planar and flat treatment of architecture were widespread in his illustrations.<ref>{{Cite journal|last=Soudavar|first=Abolala|date=1999|title=Between the Safavids and the Mughals: Art and Artists in Transition|url=https://www.jstor.org/stable/4299994|journal=Iran|volume=37|pages=49–66|doi=10.2307/4299994|issn=0578-6967}}</ref> He fully utilized these techniques in Mughal miniature paintings but later went on to incorporate atmospheric perspective and figural modeling in his paintings, primarily seen in his Bijapur period.<ref name=":2" /> |
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A recurrent theme in Beg’s work was renderings of youths and [[Sufism in India|Sufis]].<ref>{{Cite web|title=A Sufi Sage, After the European Personification of Melancholia (Dolor)|url=https://www.metmuseum.org/art/collection/search/76197|url-status=live|access-date=2021-05-04|website=Metropolitan Museum of Art}}</ref> |
A recurrent theme in Beg’s work was renderings of youths and [[Sufism in India|Sufis]].<ref>{{Cite web|title=A Sufi Sage, After the European Personification of Melancholia (Dolor)|url=https://www.metmuseum.org/art/collection/search/76197|url-status=live|access-date=2021-05-04|website=Metropolitan Museum of Art}}</ref> |
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Revision as of 01:11, 22 May 2021
Farrukh Beg (ca. 1547), also known as Farrukh Husayn, was a Persian-born miniature painter, whose worked in five royal courts over his career, his work praised by Mughal Emperor Jahangir as “unrivaled in the age.”[1][2]
Farrukh Beg was credited with painting a plethora of Persian and Mughal miniature paintings, few of which survive today. His work showed his distinct training in Persian manuscript painting, which later on evolved to include more experimental techniques such as atmospheric perspective and modeling. Beg had produced miniature paintings under the patronage of five rulers in West Asia and South Asia: Safavid, Muhammad Hakim of Kabul, Mughal India under Akbar and later his son Jahangir and the Sultanate of Bijapur during his brief hiatus from the Mughal court.[3] His distinct style came to be revered by his contemporaries. His life was later mired in mystery due to his sudden hiatus from the Mughal court sometime after 1590, rejoining the Mughal atelier around 1609. Recent evidence shows he spent a bulk of this time in Bijapur under the patronage of Ibrahim Adil Shah II of the Sultanate of Bijapur. [1]
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Life and Tenure in Safavid Iran and Kabul
Beg was born in modern-day Iran. He belonged to the Kalmaq tribe, according to Akbar's vizier Abu'l Fazl, while some sources contest that he originated from the Qashqa’i tribe.[1][4] He received his training in Khurasan (located in modern-day northwest Iran). The earliest mention of Beg appears in a historical record by Iskander Beg Munshi, a court historian under Shah Abbas I, about the close companionship between Farrukh Beg and his brother Siyavush and Hamza Mirza, son of the reigning Safavid ruler, Shah Muhammad Khodabanda.[5] While working at the atelier of Ibrahim Mirza, the governor of Mashhad, Farrukh Beg illustrated a manuscript of Haft Awrang (Seven Thrones) between 1570 and 1572.[5] Beg's illustrated all but one painting in the manuscript, allowing to him form a homogenous iconographic style as reflected in the artwork.[5] Farrukh Beg's early tutelage is indirectly attributed to Mirza Ali and Shaykh Muhammad, two prolific painters who belonged to the atelier of Ibrahim Mirza in Mashhad. However, no direct link has been established between the latter painters and Beg.[5]
While the exact date of Beg's departure for Kabul is not recorded, his tenure under Muhammad Hakim, half-brother of Mughal Emperor Akbar, has been documented. While the extent of Beg's work for Muhammad Hakim is difficult to gauge due to lack of illustrations available, two tinted illustrations made under Hakim bear Beg's signature, housed in the Gulistan Palace Library in Tehran, Iran.[3] In 1585 at the age of 40, after the death of Muhammad Hakim, he took his skills to the court of Mughal Emperor Akbar in Mughal India, either in Rawalpindi or Lahore.[3][6][7]
Work at the Mughal Court under Akbar
Beg's arrival at Mughal court is documented by Abu'l Fazl in the administrative record, Ain-i-Akbari. Abu'l Fazl states "Farrukh Beg Musavvir and others received suitable robes and horses, and trays of mushers and rupees. Various favors were conferred upon them."[7] Beg's first illustration in Akbar's atelier was the Khamsa of Nizami, a Persian manuscript in which Beg embellished seven out of thirty-six illustrations. The composition and stylistic techniques of the Khamsa of Nizami illustrations' draw heavily from his previous work, Haft Awrang, under Safavid patronage.[4]
He worked on the Baburnama and the Akbarnama, both commissioned by Akbar as historical documentation of Babur and Akbar’s reign. In the Akbarnama, some of Beg’s works include Akbar Enters Surat and Mir Mu’izz al-Mulk and Afghan rebel Bahadur Khan meet in 1567. Beg’s work in the Baburnama include the illustration titled Babur Entertains in Sultan Imrahim Lodi’s Palace. [6]
Working in the Mughal atelier, Beg was often singled out as one of the most exceptional manuscript painters of his time, along with the other renowned Mughal painters like Daswant and La’l.[8] Farrukh Beg's renowned status at Akbar's court is seen through frequent mentions as "nadir al-asr" (Wonder of the age) in Baburnama and Akbarnama, conferred as part of the reward system instituted by Mughal rulers to exalt artists' workmanship.[3][9]
Hiatus from Mughal Court and Later Return
Around 1590, Beg took a brief leave from the Mughal court of Akbar. In 1957, scholar Robert Skelton proposed that Beg spent his sojourn in the Sultanate of Bijapur under the patronage of Ibrahim Adil Shah II, a theory highly contested by scholars until evidence unearthed by art historians John Seyller and Ellen Smart confirmed this hypothesis.[6][7][10] The scholars ascertained a signature by Beg on a Deccan illustration titled Ibrahim Adil II Hawking (1598), translated as "it is the work of Farrukh Beg" (aml-i Farrukh Beg ast).[6] The signature helped identify more paintings completed at the hand of Beg in the Sultanate of Bijapur, based on starkly similar stylistic choices and compositional renderings. His illustrations at the Deccan court also bear the name Farrukh Husayn. Other paintings by Beg during this period include Ibrahim Adil Shah plays the Lute (1600), Ibrahim Rides the Elephant Atish Khan, Bull Elephant (1600-1604) and Horse and Groom (1604).[6]
Around 1609, Beg returned to the Mughal Court, now under the rule of Emperor Jahangir. His return is dated by a mention in Jahangir’s memoirs, which reports Jahangir bestowing 2,000 rupees on the “unrivaled” Farrukh Beg. [7] Under the auspices of Jahangir, Beg worked on the Gulshan Muraqqa, an album of illustrations assembled by Jahangir. He also painted several folios, now separated from their original work and dispersed among collections around the world.[3] The latest mention of Beg occurs in Iqbalnama-i Jahangiri, penned by
Style and Technique
Beg’s early style is marked by an adherence to Persian painting lexicon, which he practiced under Safavid patronage before coming to Mughal India. Individualized figural portraits, geometric patterns in landscape and clothing, and planar and flat treatment of architecture were widespread in his illustrations.[11] He fully utilized these techniques in Mughal miniature paintings but later went on to incorporate atmospheric perspective and figural modeling in his paintings, primarily seen in his Bijapur period.[6]
A recurrent theme in Beg’s work was renderings of youths and Sufis.[12]
References
- ^ a b c "Farrukh Beg," The Grove encyclopedia of Islamic art and architecture. Jonathan Bloom, Sheila Blair. Oxford: Oxford University Press. 2009. ISBN 0-19-530991-X. OCLC 232605788.
{{cite book}}: CS1 maint: others (link) - ^ Verma, S. P. (1978). "FARRUKH BEG—THE MUGHAL COURT PAINTER". Proceedings of the Indian History Congress. 39: 360–367. ISSN 2249-1937.
- ^ a b c d e Overton, Keelan (2017-01-01). "Farrukh Ḥusayn". Encyclopaedia of Islam, THREE. doi:10.1163/1573-3912_ei3_com_27826.
- ^ a b Das, A.K. (June 1998). "Furrukh Beg: Studies of Adorable Youths and Venerable Saints". Marg. Vol. 49, Issue 4.: 20–35.
{{cite journal}}:|volume=has extra text (help) - ^ a b c d Soudavar, Abolala (1999). "Between the Safavids and the Mughals: Art and Artists in Transition". Iran. 37: 49–66. doi:10.2307/4299994. ISSN 0578-6967.
- ^ a b c d e f Seyller, John (1995). "Farrukh Beg in the Deccan". Artibus Asiae. 55 (3/4): 319–341. doi:10.2307/3249754. ISSN 0004-3648.
- ^ a b c d Skelton, Robert (1957). "The Mughal Artist Farrokh Beg". Ars Orientalis. 2: 393–411. ISSN 0571-1371.
- ^ Skelton, Robert (1957). "The Mughal Artist Farrokh Beg". Ars Orientalis. 2: 393–411. ISSN 0571-1371.
- ^ Guy, John (September 2011). "Wonder of the Age: Painting, Patronage and Global Vision in Early Mughal India". Orientations. Vol.42, Issue. 2: 82–89.
{{cite journal}}:|volume=has extra text (help) - ^ Skelton, Robert (2011). "Farrukh Beg in the Deccan: An Update," Sultans of the South : arts of India's Deccan Courts, 1323-1687. Navina Najat Haidar, Marika Sardar, Metropolitan Museum of Art. New York: Metropolitan Museum of Art. ISBN 978-1-58839-438-5. OCLC 761065461.
- ^ Soudavar, Abolala (1999). "Between the Safavids and the Mughals: Art and Artists in Transition". Iran. 37: 49–66. doi:10.2307/4299994. ISSN 0578-6967.
- ^ "A Sufi Sage, After the European Personification of Melancholia (Dolor)". Metropolitan Museum of Art. Retrieved 2021-05-04.
{{cite web}}: CS1 maint: url-status (link)