Zumurrud Shah Takes Refuge in the Mountains
Opaque watercolor and gold on cotton cloth
sheet: 31 x 25 in. (78.7 x 63.5 cm)
image: 26 3/4 x 20 1/8 in. (67.9 x 51.1 cm) (show scale)
This item is not on view
Museum Collection Fund
No known copyright restrictions
This work may be in the public domain in the United States. Works created by United States and non-United States nationals published prior to 1923 are in the public domain, subject to the terms of any applicable treaty or agreement.
You may download and use Brooklyn Museum images of this work. Please include caption information from this page and credit the Brooklyn Museum. If you need a high resolution file, please fill out our online application form
The Museum does not warrant that the use of this work will not infringe on the rights of third parties, such as artists or artists' heirs holding the rights to the work. It is your responsibility to determine and satisfy copyright or other use restrictions before copying, transmitting, or making other use of protected items beyond that allowed by "fair use," as such term is understood under the United States Copyright Act.
The Brooklyn Museum makes no representations or warranties with respect to the application or terms of any international agreement governing copyright protection in the United States for works created by foreign nationals.
For further information about copyright, we recommend resources at the United States Library of Congress
, Cornell University
, Copyright and Cultural Institutions: Guidelines for U.S. Libraries, Archives, and Museums
, and Copyright Watch
For more information about the Museum's rights project, including how rights types are assigned, please see our blog posts on copyright
If you have any information regarding this work and rights to it, please contact email@example.com
Indian. Zumurrud Shah Takes Refuge in the Mountains, ca. 1570. Opaque watercolor and gold on cotton cloth, sheet: 31 x 25 in. (78.7 x 63.5 cm). Brooklyn Museum, Museum Collection Fund, 24.48 (Photo: Brooklyn Museum, 24.48_front_IMLS_SL2.jpg)
overall, 24.48_front_IMLS_SL2.jpg. Brooklyn Museum photograph
"CUR" at the beginning of an image file name means that the image was created by a curatorial staff member. These study images may be digital point-and-shoot photographs, when we don\'t yet have high-quality studio photography, or they may be scans of older negatives, slides, or photographic prints, providing historical documentation of the object.
Folio from the oversized series known as the "Hamzanama" or "Qissa-i Amir Hamza."
The campsite scene shows a giant under a tent in a rocky landscape surrounded by men and women who approach him on either side seemingly in despair. This painting, which is of better quality, represents the giant Zumurrud Shah, one of the principal antagonists of Hamza. The text on the reverse is not very helpful in interpreting the incidents. The giant has put his arms gently around a man who bows to caress the luxuriant tresses of the giant's beard. Another man, turbanless, touches the giant's knee with his head. In the Indian context, this is a gesture of utter humiliation. Facing the giant are two men lamenting, one of them wiping his eye, the other tearing at his hair while a peasant wearing a loin-cloth stands beside a bull, an expression of concern on his face. To the giant's left are several women in various states of dejection and grief. The elderly lady in the foreground tries to comfort a child who looks apprehensively at the giant. In the background, beyond the rocks, are caparisoned bulls with riders, one of whom is accompanied by a lady. A woman carrying a baby in a basket on her head leads the exodus.
The artist here convincingly captures details such as the weight of the sagging canopy with its fluttering fringe as well as the expressions of grief. The sturdy bulls, alert and cheerful, remind us of the ease with which the Indian artist depicts animals. The women, all wearing traditional dress, are derived from contemporary non-Mughal Indian idioms, even down to small details such as the print on the blouse or the ivory wedge worn as an earring. (Quoted from J. Seyller, 1994)
Not every record you will find here is complete. More information is available for some works than for others, and some entries have been updated more recently. Records are frequently reviewed and revised, and we welcome
any additional information you might have.