Search for tag "Bab, Portrait of"
||After three months in Chihríq, the Báb, on the order of Háji Mírzá Áqási was taken under escort to Tabríz. He was to be tried for apostasy before a gathering of high-ranking religious leaders (Mujtahid) in the presence of the young crown prince Másiri'd-Dín Mírzá . [B137; BW18:380; TN14]
Just prior to His leaving, in June of 1848 He was seen in public discourse with His followers by a Russian student named Mochenin from St. Petersburg University. It is believed that he and Dr William Cormick were the only Westerners to have seen the Báb. [BBR75]
En route He stopped in Urúmíyyih for ten days where the governor, Malik-Qásim Mírzá, tested the Báb by offering Him an unruly horse to ride to the public bath. The horse remained docile under the Bab's control and was the same when He came out and rode him on the return. The local people were certain that they had witnessed a miracle and broke into the bath to procure His bath water. [B138; BBR74; DB309–11, EB86-87; For73]
A sketch of the Báb was made by local artist Aqa Bala Bayg from which he made a full-scale black and white portrait. Later Bahá'u'lláh directed that Aqa Bala Bayg make two copies of the portrait in water colour. The sketch and one of the water colours are now in the International Archives. [For73; EB87; B138–9, Juhúrú'l-Haqq by Asadu'lláh Fádil-i-Mázindarání p.48 quoted in World Order Winter 1974-95 p41]
See "The Báb in the World of Images" by Bijan Masumian and Adib Masumian. [Bahá'í Studies Review, Volume 19, Number 1, 1 June 2013, pp. 171-190(20)]
||Chihriq; Tabriz; Urumiyyih; Iran
||Mochenin; Bab, Life of; Bab, Trial of; Portraits; Bab, Portrait of; Aqa Bala-Big Naqqash-bashi; Horses; Bab, Basic timeline; - Basic timeline, Expanded
from the main catalogue
See all tags, sorted numerically or alphabetically.
- Bab in the World of Images, The, by Bijan Ma'sumian and Adib Ma'sumian, in Bahá'í Studies Review, 19 (2013). History of the portraits drawn of the Bab, especially that of Aqa Bala Bayg of Shishvan, the only artist who actually met the Bab. [about]
- Manifestations of God and the Master: Representation of in Portraits, Photographs, and Dramatic Presentations, by Shoghi Effendi and Universal House of Justice. Excerpts on the use of imagery of the Central Figures in art, stage, and print. [about]
- Perfection and Refinement: Towards an Aesthetics of the Bab, by Moojan Momen, in Lights of Irfan, 12 (2011). The writings of the Bab have implications for the "plastic" arts; significance for native traditions; relevance to the performing arts; and the concept of refinement which comes across in both the person and the writings of the Báb. [about]