Portret van Raja Karan, die vizier van Aurangzeb is geweest c. 1686

Editor: Here we have a watercolor from around 1686, an anonymous portrait of Raja Karan, who, it seems, was once a vizier to Aurangzeb. The overall palette is quite muted, yet there's a definite sense of elegance about the sitter. What strikes you about this piece? Curator: Elegance, yes! But also, perhaps, a hint of world-weariness? The gentle slump of his shoulders, the almost…defiant droop of the moustache. And consider this flower he’s holding – a fleeting, fragile thing against the backdrop of power and politics. Do you see how its delicate yellow contrasts with the darker tones of his clothing? A reminder, perhaps, of beauty in the face of… well, duty. What do you think this choice of color suggests? Editor: I see what you mean. The yellow definitely pops against the pale background, it seems to invite the eye of the spectator! Also, what's that curious round shape he is leaning on? It's rather… abstract, isn't it? Curator: Exactly! Intriguing, isn’t it? That form pulls me in, what could that large, seemingly cushion like object refer to? In Islamic and Persian miniature traditions the colour, textures and surrounding items included offer keys to a story, this artwork and it's features almost presents itself as an ornate and detailed time-capsule. Editor: So, reading a painting becomes almost like…decoding a story? I hadn't thought of it that way. Curator: Precisely! It becomes a game of looking, questioning, and allowing the artwork to spark thoughts, images, stories in your mind. The joy in fact, isn’t always about what is revealed, but how this unlocks hidden parts of our imaginations and memory, perhaps this invites one to question and reflect on our interpretation of power or duty? Editor: That makes so much sense. Now I am left wondering about other portraits and if I've been missing those details too. Curator: Wonderful! Then my friend, you are truly beginning to see!