DOI Heft:
[Nr. 4]
DOI Artikel:Smith, Vincent A.: An alabaster relief bust of Shāh-Jahān
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.19838#0181
reigned from A. D. 1627 to 1658 and died as a prisoner in 1666. Professor Dr. J.
Ph. Vogel of the University of Leiden, who has favoured me with an excellent photograph of
that unique work of art, intimates that the Museum authorities have no objection whatever to
the reproduction and publication by me of the photograph. The correspondence has been in
my hands for a considerable time and only now have I found leisure te deal with the matter.
Dr. Vogel informs me that “the object in question was deposited in the Museum
on loan. The former owner was a watchmaker in whose possession it has been for a long time.
It was framed in an Old-Dutch frame
and there is a tradition that it has once
been in the possession of Rembrandt".
It is well known that he took a
lively interest in Indian art, and pos-
sessed valuable specimens of it. In
consequence of his bankruptcy in 1656,
his rich collections were sold and
dispersed in 1657 and 1658. The relief
cannot be entered in Rembrandt’s sale
catalogue. If it were, the fact would
have been mentioned by the admini-
stration of the Museum. The dates
above noted prove that, if the work ever
was in the possession of Rembrandt,
it must have come into his hands not
later than 1656. I see no reason to
doubt the truth of the tradition. The
relief clearly was executed in the
seventeenth century, and seems to
represent Shah-jahan in the earlier part
of his reign. Probably it was copied
from a ‘miniature’ picture, and was
executed by one of the Italian artists
employed at the imperial court. The
material and style suggest European rather than Indian execution, but, of course, it is quite
possible that the bust may have been produced by an Indian artist in imitation of European
practice. Many Indian draughtsmen and painters adopted the methods and ideas of the
West to a large extent, and a sculptor may have followed their example. It is not likely
that the bust was carved in Europe. I should add that Dr. Vogel notices on the relief
“distinct tracés of polychrome decoration" which are an indication of Indian origin.
The artist, a very capable person, whoever he may have been, represented his
subject in profile turned to the right. The attitude probably was intended to be sitting,
171
Ph. Vogel of the University of Leiden, who has favoured me with an excellent photograph of
that unique work of art, intimates that the Museum authorities have no objection whatever to
the reproduction and publication by me of the photograph. The correspondence has been in
my hands for a considerable time and only now have I found leisure te deal with the matter.
Dr. Vogel informs me that “the object in question was deposited in the Museum
on loan. The former owner was a watchmaker in whose possession it has been for a long time.
It was framed in an Old-Dutch frame
and there is a tradition that it has once
been in the possession of Rembrandt".
It is well known that he took a
lively interest in Indian art, and pos-
sessed valuable specimens of it. In
consequence of his bankruptcy in 1656,
his rich collections were sold and
dispersed in 1657 and 1658. The relief
cannot be entered in Rembrandt’s sale
catalogue. If it were, the fact would
have been mentioned by the admini-
stration of the Museum. The dates
above noted prove that, if the work ever
was in the possession of Rembrandt,
it must have come into his hands not
later than 1656. I see no reason to
doubt the truth of the tradition. The
relief clearly was executed in the
seventeenth century, and seems to
represent Shah-jahan in the earlier part
of his reign. Probably it was copied
from a ‘miniature’ picture, and was
executed by one of the Italian artists
employed at the imperial court. The
material and style suggest European rather than Indian execution, but, of course, it is quite
possible that the bust may have been produced by an Indian artist in imitation of European
practice. Many Indian draughtsmen and painters adopted the methods and ideas of the
West to a large extent, and a sculptor may have followed their example. It is not likely
that the bust was carved in Europe. I should add that Dr. Vogel notices on the relief
“distinct tracés of polychrome decoration" which are an indication of Indian origin.
The artist, a very capable person, whoever he may have been, represented his
subject in profile turned to the right. The attitude probably was intended to be sitting,
171