Rembrandt van Rijn, 1635 - Nwoke na ejiji Oriental - mbipụta nka mara mma

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Nke a kariri 380 afọ mpempe nka a na-akpọ Man in Oriental Costume e sere ya Rembrandt van Rijn. Nke mbụ tụrụ nha 98,5 x 74,5 cm (38 3/4 x 29 5/16 na) ma were ihe osise ese Usoro of oil on canvas. This piece of art is included in the National Gallery of Art's digital art collection, which is located in Washington D.C., United States of America. With courtesy of - National Gallery of Art, Washington (ọha na eze).: . Ọzọkwa, itinye n'ọnọdụ nke mmepụta dijitalụ bụ Eserese with an image ratio of 3 : 4, which means that the length is 25% shorter than the width. The painter Rembrandt van Rijn was a European artist, whose artistic style was primarily Baroque. The Baroque artist lived for 63 years, born in the year 1606 na Leiden ma nwụọ na 1669.

Ozi nkowa mgbakwunye na ihe osise mbụ sitere na webụsaịtị museum (© Nwebiisinka - National Gallery of Art - www.nga.gov)

Mgbe Rembrandt van Rijn mụtachara isi ihe gbasara eserese na eserese n'obodo ya Leiden, Rembrandt van Rijn gara Amsterdam na 1624 ka ya na Pieter Lastman mụọ ihe ọnwa isii (1583–1633), onye na-ese akụkọ ihe mere eme ama ama. Mgbe ọ gụsịrị ọzụzụ ya Rembrandt laghachiri na Leiden. N'ihe dị ka afọ 1632 ọ kwagara Amsterdam, wepụta onwe ya ngwa ngwa dị ka onye na-eme ihe nkiri nke obodo, ọkachamara na eserese akụkọ ihe mere eme na eserese. Ọ natara ọtụtụ ọrụ ma dọta ọtụtụ ụmụ akwụkwọ ndị bịara ịmụta usoro ihe osise ya.

In this imposing half-length image, a bearded man wearing an elaborate, bejeweled turban stares out at the viewer, his features strongly modeled by light streaming in from the left. A fur-lined cape, loosely clasped at the neck with a gold chain, covers his shoulders. His right hand grasps the sash that wraps around his waist, while his other hand rests on a wooden staff. An aigrette, a type of pin with a tuft of ornamental bird feathers that was a standard part of Ottoman attire, secures a heavy gold chain on the man’s turban.

Rembrandt, as a history painter, was particularly intrigued by the Middle East, where so many of the Biblical stories he frequently depicted had taken place. Rembrandt’s paintings, drawings, and etchings of the 1630s included numerous figures who wear Middle-Eastern garb. By the early seventeenth century the commercial enterprises of Dutch merchants had reached the Middle East, so exotically dressed foreigners were a familiar sight in the streets and marketplaces of Amsterdam. Exotic attire became a fashion fad, and Dutch men, including Rembrandt himself, would sometimes be portrayed wearing similar outfits. At the same time, Dutch collectors avidly sought to acquire exotica from all parts of the world, including shells, swords, musical instruments, and costumes, which they would then display for visitors to admire. Rembrandt owned such a collection, known as a kunstkamer, or cabinet of curiosities. His encyclopedic holdings of art and artifacts served as props for Rembrandt and his students, but the artist was also motivated to amass such a collection by his desire to be recognized as a full-fledged member of the class of gentlemen-collectors.

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