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Produktinformationen "Der amputierte Herrscher"

Why did an unknown Dutch artist paint a portrait of a Moluccan ruler with an amputated arm in the 17th century? Yannis Hadjinicolaou uncovers the fascinating story behind this unusual depiction of Sultan Sayfoedin, who ruled Tidore, one of the Moluccas islands in northeastern Indonesia, from 1657 to 1687. He examines the reasons for portraying Sayfoedin's amputation, interprets the significance of his attire, and traces the provenance of the painting, now housed in the Czartoryski Museum in Krakow. Hadjinicolaou highlights the importance of Sayfoedin's partnership with the Dutch East India Company and the carnation trade, showing how the portrait reflects the complex interplay between colonial power and local authority.- New perspectives on topics such as political iconography, transculturality, materiality and disability- Critical global art history

Untertitel
Ein niederländisches Porträt des Sultans von Tidore

H | B | T | Gramm
209 mm | 128 mm | 10 mm | 248 gr

Erscheinungsjahr
2026

FSK
0

Ausgabe
Taschenbuch

Verlag
Deutscher Kunstverlag

ISBN-10
3422803696

Autor
Yannis Hadjinicolaou

Sprache
Deutsch

Seitenanzahl
112

Themen
Kunstgeschichte, Malerei und Gemälde, Kunst: Grundlagen und Techniken

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De Gruyter GmbH, Genthiner Straße 13, Berlin, DE, productsafety@degruyterbrill.com

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Why did an unknown Dutch artist paint a portrait of a Moluccan ruler with an amputated arm in the 17th century? Yannis Hadjinicolaou uncovers the fascinating story behind this unusual depiction of Sultan Sayfoedin, who ruled Tidore, one of the Moluccas islands in northeastern Indonesia, from 1657 to 1687. He examines the reasons for portraying Sayfoedin's amputation, interprets the significance of his attire, and traces the provenance of the painting, now housed in the Czartoryski Museum in Krakow. Hadjinicolaou highlights the importance of Sayfoedin's partnership with the Dutch East India Company and the carnation trade, showing how the portrait reflects the complex interplay between colonial power and local authority.- New perspectives on topics such as political iconography, transculturality, materiality and disability- Critical global art history

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Thinking Bodies - Shaping Hands focuses on the critical as well as historical dimension of the handling of the brush and of the resulting appearance of colour on the painted surface in art and art theory from the middle of the 17th (above all from 1660) to the dawn of the 18th century in the Netherlands. More specifically, it deals with Rembrandt's last pupils such as Arent de Gelder. "Handeling" describes an active, embodied process that is connected to the motion of the hand with the brush or with any other kind of tool. This term, up to now not sufficiently appreciated in scholarly literature, seems to be fruitful in this context. It is not so much connected with the term "style", as with a prior step, which is equivalent to "manner". At the same time, its meaning in Dutch till today is "action". "Handeling" is an act that could be described as a "form-act". It focuses on Formgestaltung, in which these actions themselves are understood as processes. Examining the "Rembrandtist ideology of painting", this study attempts to reveal the embodied process of painting in the sense of a bodily articulation during the application of colour. This occurs within the productive tension between theory and practice.

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