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拍品專文
INSCRIPTIONS:
ruz-e chaharshanbe haftom-e ramazan mubarak sane 1038 be etmam resid, mashq-e muhammad mu'in musavvir 'Completed on Wednesday 7th Holy month of Ramadan in the year AH 1038 (30 April 1629), work of Muhammad Mu'in Musavvir'
Although this painting is inscribed to Mu’in Musavvir (circa 1630s-1697) it is most likely to be the hand of a pupil or close follower of the artist. One clue is the use of 'mashq' in the signature as well as 'Muhammad', which are both unusual to find on the artist's known works. Just like his own master Reza ‘Abbasi, Mu’in’s success and prominence resulted in his work being extensively copied and imitated by those following him. From the time of Bihzad in the late 15th and early 16th century the master-pupil relationship was central to the continuation and development of Persian painting. In an environment of little non-royal patronage the pathways to securing an appointment as a court artist were limited to those with carefully fostered family ties to court or through being the student of a well-respected master artist. The present painting relates closely to a painting of a lion and a youth painted by Afzal al-Husayni, a contemporary of Mu’in and also a follower of Reza ‘Abbasi, in the Khanenko Museum, Kyiv (454 GRV). A study of a resting lion by Mu’in Musavvir dated 14 Shawwal 1082 (13 February 1672) is in the Aga Khan Museum, Toronto (AKM111).
ruz-e chaharshanbe haftom-e ramazan mubarak sane 1038 be etmam resid, mashq-e muhammad mu'in musavvir 'Completed on Wednesday 7th Holy month of Ramadan in the year AH 1038 (30 April 1629), work of Muhammad Mu'in Musavvir'
Although this painting is inscribed to Mu’in Musavvir (circa 1630s-1697) it is most likely to be the hand of a pupil or close follower of the artist. One clue is the use of 'mashq' in the signature as well as 'Muhammad', which are both unusual to find on the artist's known works. Just like his own master Reza ‘Abbasi, Mu’in’s success and prominence resulted in his work being extensively copied and imitated by those following him. From the time of Bihzad in the late 15th and early 16th century the master-pupil relationship was central to the continuation and development of Persian painting. In an environment of little non-royal patronage the pathways to securing an appointment as a court artist were limited to those with carefully fostered family ties to court or through being the student of a well-respected master artist. The present painting relates closely to a painting of a lion and a youth painted by Afzal al-Husayni, a contemporary of Mu’in and also a follower of Reza ‘Abbasi, in the Khanenko Museum, Kyiv (454 GRV). A study of a resting lion by Mu’in Musavvir dated 14 Shawwal 1082 (13 February 1672) is in the Aga Khan Museum, Toronto (AKM111).