J. Hond, Amélie Couvrat-Desvergnes, Leila Sauvage, Forough Sajadi, P. D'Imporzano
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引用次数: 1
摘要
在Gesina ter Borch(1633-1690)编纂的家庭剪贴簿中,有一幅引人注目的伊朗青年画。艺术历史和科学研究表明,尽管这幅画有后来的复刻区域,但下面有一个十六世纪五六十年代的萨非王朝的原始微缩模型。很可能是Gesina自己对这些过度印刷负有责任,她在1660年至1680年间的某个时候将严重损坏的微缩版安装在专辑中。有趣的是,除了黑色的背景和她添加的五颜六色的羽毛和腰带外,她还试图在修复中遵循原始的伊朗风格。原作是伊斯法罕学派的一位画家在十六世纪五六十年代创作的,他的灵感可能来自著名宫廷艺术家里扎·阿巴西的一幅旧作品。这篇文章继续表明,里扎·阿巴西的作品在此之前在荷兰共和国就已经为人所知。1623年,初级商人Niclaes Hem前往伊朗。他是荷兰东印度公司代表团的成员,该代表团正寻求和沙阿谈判一项贸易协议。当他在伊斯法罕时,Hem获得了一系列由Riza Abbasi或以他命名的绘画作品。在这次收购中,他可能得到了他的同胞Jan van Hasselt的帮助。Hem带回共和国的一些原始微缩模型在Johannes de Laet的《波斯》(1634)中以木刻形式出版。
In the family scrapbook compiled by Gesina ter Borch (1633-1690), there is a remarkable drawing of an Iranian youth. Art-historical and scientific research has revealed that although the drawing has areas of later overpainting, there is an original Safavid miniature from the sixteen-fifties or sixties underneath them. It is likely that Gesina herself was responsible for these overpaints, when she mounted the badly damaged miniature in her album at some time between 1660 and 1680. Interestingly, aside from the blackened background and the colourful feather and sashes she added, she attempted to follow the original Iranian style in her restorations. The original was made in the sixteen-fifties or sixties by a painter of the Isfahan School, who probably took his inspiration from an older composition by the famous court artist, Riza Abbasi. The article goes on to show that Riza Abbasi’s work was known in the Dutch Republic before then. In 1623 the junior merchant Niclaes Hem travelled to Iran. He was a member of a Dutch East India Company delegation seeking to negotiate a trade agreement with the Shah. Hem acquired a series of drawings by or after Riza Abbasi while he was in Isfahan. He was probably helped in this acquisition by his fellow countryman, Jan van Hasselt. A number of the original miniatures that Hem took back to the Republic were published as woodcuts in Johannes de Laet’s Persia (1634).