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Jesus being portrayed by King Abgars painter, from a Mir at al-quds
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Jesus being portrayed by King Abgars painter, from a Mir at al-quds
Jesus being portrayed by King Abgars painter, from a Mir at al-quds of Father Jerome Xavier (Spanish, 1549-1617), 1602-1604. Jesus sits under a golden lamp with a cloth in his hand, while the artist emissary from Abgar, king of Edessa in present-day southeastern Turkey, struggles to paint a portrait of Jesus that Abgar believed would cure him of a disease. The similarity between the names Abgar and Akbar suggests that Father Jerome included this noncanonical story in his biography of Jesus to resonate with and inspire the Mughal emperor. The miraculous cloth described in this story, the Image of Edessa, also known as the Mandylion, was venerated by Christians for centuries as a relic of Christ. The original cloth was lost from Sainte-Chapelle in Paris during the French Revolution, but two copies remain: one in a church in Genoa, and the other in the Vatican
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Media ID 19622719
© Heritage Art/Heritage Images
Allahabad Colour And Gold On Paper Mughal Period Northern India Opaque Watercolour Uttar Pradesh
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This print showcases a remarkable painting titled "Jesus being portrayed by King Abgars painter, from a Mir at al-quds" created by Father Jerome Xavier in the early 17th century. The artwork depicts Jesus seated beneath a resplendent golden lamp, holding a cloth in his hand. In this scene, an artist emissary sent by King Abgar of Edessa is seen struggling to capture the divine essence of Jesus on canvas, as it was believed that such a portrait would cure the king of his ailment. The inclusion of this noncanonical story in Father Jerome's biography of Jesus serves to resonate with and inspire Emperor Akbar during the Mughal era. The similarity between the names Abgar and Akbar suggests an intentional connection made by Father Jerome to foster admiration for Jesus among Mughal rulers. Furthermore, this painting alludes to another fascinating relic known as the Image of Edessa or Mandylion. Christians revered this miraculous cloth for centuries as it was believed to bear Christ's image. Although lost during the French Revolution from Sainte-Chapelle in Paris, two copies remain: one housed in Genoa and another preserved within Vatican City. With its vibrant colors and intricate details rendered through opaque watercolor technique on paper, this exquisite piece exemplifies Northern Indian artistry during the Mughal period. It now finds its place within The Cleveland Museum of Art collection where it continues to captivate viewers with its historical significance and artistic brilliance.
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