THE EMPEROR FARRUKHSIYAR IN DURBAR
THE EMPEROR FARRUKHSIYAR IN DURBAR
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THE EMPEROR FARRUKHSIYAR IN DURBAR

PROVINCIAL MUGHAL, POSSIBLY AWADH OR DECCAN, INDIA, CIRCA 1720-30

细节
THE EMPEROR FARRUKHSIYAR IN DURBAR
PROVINCIAL MUGHAL, POSSIBLY AWADH OR DECCAN, INDIA, CIRCA 1720-30
Opaque pigments heightened with gold on paper, depicting the Mughal Emperor Farrukhsiyar holding Durbar with important courtiers named in black nasta'liq, set between gold and black rules with pink floral margins, the reverse with an illuminated panel of animals and flowers against a pink ground
Painting 12 x 8 7⁄8in. (30.5 x 22.5cm.); folio 16 x 11in. (40.3 x 28cm.)
注意事项
This lot has been imported from outside of the UK for sale and placed under the Temporary Admission regime. Import VAT is payable at 5% on the hammer price. VAT at 20% will be added to the buyer’s premium but will not be shown separately on our invoice.
拍场告示
Please note that four further paintings from this album depicting scenes from a mythical epic, one with a durbar of the Emperor Shah Alam I (1707-1712), were sold at Sotheby’s New York, 17 March 1988, lots 326-329, attributed to Mughal India circa 1710.  Two of these are now in the Cleveland Museum of Art, inv.nos 2013⁄336 and 2013⁄337.

荣誉呈献

Barney Bartlett
Barney Bartlett Junior Specialist

拍品专文


The following lots (74-77) are closely related to a small group of folios from a poetical romance relating to Shah ‘Alam I. Each shares the salmon-pink borders with gold speckles or gilt floral scrolls and have stencilled animals in landscapes to the reverse. Four folios from the album were sold at Sotheby’s, New York, 17 March 1988, lots 326-329, one of which is now in the Cleveland Museum of Art (inv.no.2013.337.a) and another in the Newark Museum (inv.no.41.1122), while a fifth was sold at Sotheby's, New York, 22 March 1989, lot 66 and subsequently in these Rooms, 1 October 2012, lot 16.
The illuminated text panels (lot 77), however, are written in prose and include an epic similar to that of the Hamzanama, involving a hero called Mir Uways, an unnamed king and the legendary vizier Jamasp. The text describes struggles against the enemies of religion, using examples such as Sultan Husayn Mirza as a ruler of Iran who is said to have ruined the country despite his piety and good intentions. The hero is likely the semi-legendary early Islamic figure, Uways al-Qarani, who became an important figure in some Sufi circles, and in some legends he is said to have come to India. The text also mentions the 'Haydari sword’, which would suggest it was produced in a Shi’a milieu.

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