Skip to main content

17th-19th centuries

17th-19th centuries

Karen Kramer HAA198G


Thomas Lawrence, English (Bristol, England 1769 - 1830 London, England)

Mirza Abu'l Hassan Khan (1776–1845), 1810

35 x 27 1/4 inches

frame: 46 1/8 x 38 1/4 x 4 inches

Harvard Art Museums/Fogg Museum, Bequest of William M. Chadbourne, 1964 [1964.100]


This is a portrait of Mirza Abu’l Hasan Khan (1776–1845), the ‘Envoy Extraordinary’ who was dispatched by Fath Ali Shah of Persia to the Court of King George III. He arrived in London in 1809 and stayed about 18 months, becoming one of London’s most prominent celebrities. There as ambassador and official diplomat from the Qajar court, he had several goals, including generating British interest in the Persian silk trade, which had declined internationally since the 1720s. Ḥasan’s mission was also to secure the help of England in making Russia return the occupied Iran territories in the Caucasus. 


He was witty and amiable by all accounts, but it was his exotic foreignness that so fascinated people that he inspired several portraits, popular prints, and poems. He kept a diary, now held in the British Library, that was later published under the title, Heyratnameth (the book of wonders). In this journal, he conveyed his perceptions of Europe's modern achievements, but also his account of the initial formations of the very idea of “Iran” as a modern (colonial) nation-state. His journal was read widely in the Qajar court and later inspired sociopolitical movements, such as Iran's constitutional revolution. 


His official host, or mehmandar, was Sir Gore Ouseley, a diplomat and linguist who had lived and worked in India. Ouseley commissioned this portrait from Thomas Lawrence, one of the leading British portraitists of the day. In Hassan’s journal, he reported that Lawrence painted the portrait in four sittings. In this portrait, he wears a gold brocade gown with a fur-trimmed cape, and a silk turban.

Hassan Khan played a vital role in signing the 1813 treaty of Golestān, which safeguarded enabled the Russians to face the Napoleonic army without being disturbed by Iran. In 1819 he returned to England, traveling overland via Constantinople, Vienna, and Paris. Following that, he served as the Minister of Foreign Affairs from 1824 to 1834, and then again from 1838 until his death in 1846.

 

Resources: 

H. Dabashi (2020). “An Ilchi Wonders about the World,” in Reversing the Colonial Gaze: Persian Travelers Abroad. (Cambridge: Cambridge University Press  (73-101).


H. Javadi, “ABU’L-ḤASAN KHAN ĪLČĪ” in Encyclopedia Iranica, July 21, 2011, https://www.iranicaonline.org/articles/abul-hasan-khan-ilci-mirza-persian-diplomat-b accessed 11/6/2020


Jennifer Howes “Mirza Abu’l Hasan Khan, the ‘Envoy Extraordinary’ from Persia” November 27, 2013

https://blogs.bl.uk/asian-and-african/2013/11/mirza-abul-hasan-khan-the-envoy-extraordinary-from-persia.html accessed 11/4/2020.


Harvard Art Museums collection database: https://www.harvardartmuseums.org/art/299796


Comments

Popular posts from this blog

Painting Identity

    Painting   I selected painting as a media and identity as a critical term to explore. Spanning four continents, Europe, North America, Africa, and Asia, and the Harvard Art Museums, I have selected six works to exemplify this media and at the same time, explore identity as a critical term.  Painting as a medium dates back at least 20,000 years, to the striking stylized portrayals of animals painted in mineral pigments found in caves at Lascaux, France.  Painting, the practice of applying paint and other media to a surface, usually with a brush, spans all cultures and crosses many genres. Painting is both an action, and the result of the action -- the painting as an object.(1) The surfaces (or supports) for painting have evolved from cave walls to paper, wood, cloth, canvas, ceramics, and bodies. Earth and minerals, plant extracts, and modern synthetics are still used for pigments and mixed with a binder to make paint. A solvent is also a component of painti...

Group Project: Week 11

  Week 11: Group Assignment Akarsh Raghunath and Karen Kramer HARVARD MUSEUM OF ETHNOMUSICOLOGY  Mission and vision statement:  The Harvard Museum of Ethnomusicology (HME) specializes in engagement, support and promotion of knowledge related to the production, presentation, appreciation and preservation of music from different cultures across the globe The Museum collects, preserves, interprets, and makes accessible tangible and intangible ethnomusicological heritage and offers unique opportunities for innovative exhibitions, teaching, research, and enrichment with musicians and performing artists from around the world. Through interactive technology, immersive exhibition environments, and dynamic programs, HME brings the Harvard community together through music and culture, making connections across time, space, and worldview.   Brief history:  Founded in 2020 by Akarsh Raghunath and Karen Kramer, and recognized as a “Landmark of Music and Culture from ar...
Repatriation, Repositioning, Reengagement Karen Kramer Stewardship of objects entrusted to a museum’s care requires careful, sound, and responsible management. Collection management requires legal compliance in the United States through the federal 1990 Native American Graves Protection and Repatriation Act, as well as concomitant social and ethical obligations for objects that fall outside of legal bounds, within the United States and across the globe. Some museums are contending with the legacies of colonialism through careful and considered self-reflection, recognizing that the repatriation of objects isn’t solely about returning culturally sensitive and/or illegally obtained objects. It’s also about knowledge repatriation, building relationships and the opportunities for collaborative projects, and how to maintain these ongoing relationships.   The 2018 Overview of Repatriation Report by Felwine Sarr and Bénédicte Savoy, commissioned by the French President Emmanuel Macron, ce...