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Works ascribed to a youthful period in the 1520s have tautly composed landscapes inhabited by a few large-scale figures. A transitional period in the early 1530s was followed by mature works produced from the late 1530s to c. 1555, in which the compositions are more complex and the coloring more
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wrote that Aqa Mirak "had no peer in artistic design and was an incomparable painter, very clever, enamoured of his art, a bon vivant, an intimate and a sage". A manuscript of the Khamsa done between 1539 and 1543 has four illustrations bearing attributions to Aqa Mirak. Dickson and Welch have
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attributed other paintings to Aqa Mirak in the monumental copy of the
Shahnama made for Tahmasp, and have used these attributions to define four periods in the artist's life.
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subtle. In the view of
Dickson and Welch, at the end of his life the artist returned to his youthful style in two paintings for Ibrahim Mirza's copy of Jami's
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did wall paintings for Prince Sam Mirza's palace in Tabriz and illustrations for royal manuscripts including the
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and was well known in contemporary circles. Initially living in
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of Shah
Tahmasp, attributed to Aqa Mirak (c. 1525–35)
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Faridun in the guise of a dragon test his sons, from the
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Aqa Mirak was a painter, purveyor and companion to the
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235:('Seven thrones') produced between 1556 and 1565.
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109:Learn how and when to remove this message
410:16th-century painters from Safavid Iran
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185:from 1565 until his death.
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252:Majnun in the desert from
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308:"Aqa Mirak Brief Bio"
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139:: آقا میرک) (
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400:1576 deaths
233:Haft Awrang
99:August 2018
58:"Aqa Mirak"
389:Categories
313:2013-05-06
289:References
219:Qazi Ahmad
69:newspapers
281:Shahnameh
258:(1543–44)
211:Shahnameh
171:Tahmasp I
133:Aqa Mirak
207:Ferdowsi
239:Gallery
179:Mashhad
165:Safavid
153:painter
149:Persian
143:1520 –
137:Persian
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183:Qazvin
175:Tabriz
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189:Works
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