Harvard Art Museums > 2002.50.22: Courtier with Attendants in a Garden, folio from an album Albums Collections Search Exit Deep Zoom Mode Zoom Out Zoom In Reset Zoom Full Screen Add to Collection Order Image Copy Link Copy Citation Citation"Courtier with Attendants in a Garden, folio from an album , 2002.50.22,” Harvard Art Museums collections online, Nov 21, 2024, https://hvrd.art/o/149284. Reuse via IIIF Toggle Deep Zoom Mode Download This object does not yet have a description. Identification and Creation Object Number 2002.50.22 Title Courtier with Attendants in a Garden, folio from an album Classification Albums Work Type album folio Date first half of the 16th century Places Creation Place: Central Asia, Uzbekistan, Bukhara Period Shaybanid period Culture Uzbek Persistent Link https://hvrd.art/o/149284 Physical Descriptions Medium Black ink, opaque watercolor, gold, and silver on paper, with underdrawing in red ink Dimensions 33.2 x 21.1 cm (13 1/16 x 8 5/16 in.) Provenance Recorded Ownership History Stanford and Norma Jean Calderwood, Belmont, MA (by 1974-2002), gift; to Harvard Art Museums, 2002. Acquisition and Rights Credit Line Harvard Art Museums/Arthur M. Sackler Museum, The Norma Jean Calderwood Collection of Islamic Art Accession Year 2002 Object Number 2002.50.22 Division Asian and Mediterranean Art Contact am_asianmediterranean@harvard.edu Permissions The Harvard Art Museums encourage the use of images found on this website for personal, noncommercial use, including educational and scholarly purposes. To request a higher resolution file of this image, please submit an online request. Descriptions Description This painting depicts three youths in a garden. The aristocratic central figure, wearing an ornamented robe and holding a wine cup, leans against a blossoming tree. One of his attendants, kneeling on the left, offers him flowers and a golden tray, while the other carries his quiver of arrows. The languid and lyrical scene is rendered with delicate brushwork and sensitivity to detail evident in the figures’ communicative gestures and gazes and in the variety of naturalistic flowering plants. A long-necked ceramic vase on a golden stand bears traces of an inscription added at a later time and now illegible. The setting of this painting, with its patterned wall, flowering tree, meandering stream, and blooming ground plants, is typical of garden scenes produced in Uzbek ateliers. The young men’s facial features and squat turbans further support a Shaybanid Central Asian attribution. The painting is currently mounted as an album page. Examined under a microscope, its paper support is shown to be very thin and to have many creases and cracks, possibly because the folio on which the painting was executed was removed from its original context and split into two sheets. At the upper right is a reversed seal-impression, transferred from a facing album page. Published Catalogue Text: In Harmony: The Norma Jean Calderwood Collection of Islamic Art , written 2013127 Courtier with Attendants in a Garden Folio from an album Central Asia, Shaybanid period, first half 16th century Black ink, opaque watercolor, gold, and silver on paper, with underdrawing in red ink Folio: 33.2 × 21.1 cm (13 1/16 × 8 5/16 in.) 2002.50.22 This painting depicts three youths in a garden. The aristocratic central figure, wearing an ornamented robe and holding a wine cup, leans against a blossoming tree. One of his attendants, kneeling on the left, offers him flowers and a golden tray, while the other carries his quiver of arrows. The languid and lyrical scene is rendered with delicate brushwork and sensitivity to detail evident in the figures’ communicative gestures and gazes and in the variety of naturalistic flowering plants. A long-necked ceramic vase on a golden stand bears traces of an inscription added at a later time and now illegible. The setting of this painting, with its patterned wall, flowering tree, meandering stream, and blooming ground plants, is typical of garden scenes produced in Uzbek ateliers. The young men’s facial features and squat turbans further support a Shaybanid Central Asian attribution. The painting is currently mounted as an album page. Examined under a microscope, its paper support is shown to be very thin and to have many creases and cracks, possibly because the folio on which the painting was executed was removed from its original context and split into two sheets. At the upper right is a reversed seal-impression, transferred from a facing album page. Mika M. Natif Publication History Mary McWilliams, ed., In Harmony: The Norma Jean Calderwood Collection of Islamic Art, exh. cat., Harvard Art Museums (Cambridge, MA, 2013), pp. 259-260, cat. 127, ill. Exhibition History In Harmony: The Norma Jean Calderwood Collection of Islamic Art, Harvard Art Museums, Cambridge, 01/31/2013 - 06/01/2013 Verification Level This record has been reviewed by the curatorial staff but may be incomplete. Our records are frequently revised and enhanced. For more information please contact the Division of Asian and Mediterranean Art at am_asianmediterranean@harvard.edu
