File:İmparator Süleyman’ın Kızı Cameria (Mihrimah Sultan).jpg
原始文件 (1,376 × 2,000像素,文件大小:1.16 MB,MIME类型:image/jpeg)
说明
摘要
[编辑]English: Portrait Of Cameria, Daughter of The Emperor Soliman, (1522-1578) Türkçe: Sultan Süleyman'ın kızı Mihrimah Sultan'ın (1522-1578) portresi ( ) | ||||||||||||||||||||||||
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艺术家 |
After Cristofano dell’ Altissimo (1530-1605) (?) Italian School, 16th century (?) |
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标题 |
English: Portrait Of Cameria, Daughter of The Emperor Soliman, (1522-1578) Türkçe: Sultan Süleyman'ın kızı Mihrimah Sultan'ın (1522-1578) portresi |
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物体类型 |
画作 object_type QS:P31,Q3305213 |
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描述 |
English: Based on similar examples by the European painters in various collections, this work is one of the portraits of Mihrimah Sultan, who was depicted rather often in the 16th century.
Dressed in a plain brown gown with floral motifs, the figure wears a tall headdress ornate with expensive stones. She is set against a dark background upon which are the following inscriptions on the upper left and upper right corners, respectively: “Cameria Solimani Imparator Filia” (Cameria, Daughter of Sultan Süleyman) and “Rostanis Bassae Vxor 1541” (Wife of Rüstem Pasha, 1541). It is highly probable that the date inscribed here does not indicate the date on which the work was executed. It can be assumed that the date and the inscription found on virtually all of the similar portraits by different artists repeat a tradition initiated by the first original portrait. Apart from similar three-quarter view portraits found at the Courtauld Institute (Inv. No. 331) in London, The National Trust in Lacock Wiltshire (Inv. No. 996348) and the Mazovian Museum in Poland, the work also has comparable examples in bust portraits at the Uffizi Gallery in Florence (Inv. No. 1890/13), the Topkapı Palace Museum in Turkey (Inv. No. TSM, 17/141), as well as in the collection of Rahmi Koç. It is believed that the origin of the portrait is to be found in the collection of 16th century Italian humanist and intellectualist Bishop Paolo Giovio (1483-1552). Giovio displayed his collection of portraits of notables in Rome until 1543, as of which the date he transferred it to Musaeum, the home he built in Como. An inventory made after the 1569 flood that destroyed almost the entire collection speaks of a “Turkish Hall” (Sala de’ Turchi). In his records from 1568, Vasari mentions having seen portraits of Hürrem and Mihrimah Sultans by Titian in this collection. Furthermore, it is known that Italian painter Cristofano dell’ Altissimo copied the paintings in this collection for Cosimo I de’ Medici. Included among these works currently on display at the Uffizi Gallery, the portrait of Mihrimah Sultan has been identified in the records of 1557 in Florence. Based on this information, it is presumed that the portrait can be dated to somewhere between 1552 and 1557, around the time of Giovio’s death. As the daughter of Sultan Süleyman the Magnificent (1494-1566) and Hürrem Sultan (d. 1558), Mihrimah Sultan (1522-1578) was married to the Governor of Diyarbakır Rüstem Pasha in 1539. She had two children, Ayşe Hümaşah and Osman with Rüstem Pasha, who served as grand vizier in 1544-1553 and 1555-1561. A rather influential figure at the Harem during the reigns of her father Sultan Süleyman the Magnificent and her brother Sultan Selim II, Mihrimah Sultan commissioned Mimar Sinan to build a mosque and complex in her name both in Üsküdar and Edirnekapı. The attire and headdress repeated in other examples of the portrait reflect the Turkish fashion of the period. During the 16th century, in which the Ottoman style became visible in Europe, both Mihrimah Sultan and her mother Hürrem Sultan represented the idealized Ottoman figure. In this respect, the portrait inspired other painters to recreate the popular theme of a given period.
Türkçe: Kahverengi çiçek desenli sade elbisesinin üzerinde başında zengin taşlarla süslü gösterişli bir yüksek başlık taşıyan figürün arkasındaki koyu zeminde sol üstte “Cameria Solimani Imparator Filia” (Sultan Süleyman’ın Kızı Cameria), sağ üstte ise “Rostanis Bassae Vxor 1541” (Rüstem Paşa’nın Karısı, 1541) yazılıdır. Buradaki tarih, olasılıkla resmin yapıldığı tarihi belirtmez. Farklı sanatçılar tarafından yapılmış benzer portrelerin hemen hepsinde bulunan bu tarih ve yazılı ibarenin, olasılıkla orijinal ilk portreyi tekrarlayarak süregelen bir tanımlama olduğu düşünülebilir. |
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日期 |
1541年 date QS:P571,+1541-00-00T00:00:00Z/9 |
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表现形式 |
布面油画 medium QS:P186,Q296955;P186,Q12321255,P518,Q861259 |
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尺寸 |
高度:98.5厘米;宽度:67.8厘米 dimensions QS:P2048,98.5U174728 dimensions QS:P2049,67.8U174728 |
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藏于 |
institution QS:P195,Q1662392 |
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登录号 |
Inv. No. 102 |
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来源/摄影师 | Pera Museum Blog | |||||||||||||||||||||||
其他版本 | https://www.weissgallery.com/paintings/cameria-mihrimah-sultan-1522-–-1576-daughter-emperor-suleiman-magnificent-1494-1566 |
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许可协议
[编辑]
这是一个平面公有领域艺术品的忠实摄影副本。原艺术品本身因为下列原因属于公有领域:
维基媒体基金会的官方立场认为:“对平面公有领域艺术品的忠实再制作品也属于公有领域。”
因此,可以认为此摄影副本在美国也属于公有领域。在其他司法管辖区,再利用此内容可能存在限制;参见再利用PD-Art照片了解详细信息。 |
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相机制造商 | HEIDELBERG PREPRESS |
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相机型号 | Scanner DC3000 |
作者 | Krause, Johansen |
图像标题 |
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简短标题 |
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著作权持有人 |
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宽度 | 2,023 px |
高度 | 2,940 px |
压缩方案 | 未压缩 |
像素构成 | 分离型(通常是CMYK) |
方向 | 正常 |
色彩组分数 | 4 |
水平分辨率 | 140 dpc |
垂直分辨率 | 140 dpc |
数据排布 | 大块格式 |
使用软件 | Adobe Photoshop CS4 Macintosh |
文件修改日期时间 | 2012年8月31日 (五) 17:16 |
色彩空间 | sRGB |
图像宽度 | 1,376 px |
图像高度 | 2,000 px |
每色彩组分位数 |
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数字化日期时间 | 2004年10月26日 (二) 14:31 |
元数据最后修改日期 | 2012年8月31日 (五) 20:16 |
原始文件唯一ID | adobe:docid:photoshop:076ad9b9-28fa-11d9-8a8a-97c70bf4451c |
著作权状况 | 受著作权保护 |
关键词 | 102-CMYK-tiff-IBM PC |
IIM版本 | 2 |