Portret van Muhammad-Quli, zoon van Ibrahim; na zijn vader heeft hij over Golconda geregeerd c. 1686

Editor: So, this is "Portret van Muhammad-Quli, zoon van Ibrahim; na zijn vader heeft hij over Golconda geregeerd," made around 1686 by an anonymous artist. It's done with watercolors on toned paper, and it’s currently held at the Rijksmuseum. I’m struck by the detail in the clothing and jewelry, and by the sense of calm formality. What can you tell me about this work? Curator: Well, let's consider the context. This portrait offers insight into the politics and social structures of the Golconda Sultanate in the late 17th century. The delicate rendering, common in Deccani painting, presents Muhammad-Quli not just as a ruler, but as a figure imbued with a particular cultural authority. Notice the halo. How does that relate to your understanding of identity and power? Editor: The halo, of course! I almost missed that. So it elevates him, associates him with divinity. Is that meant to reinforce his political legitimacy? Curator: Precisely. Think about how visual signifiers like that were deployed to shape perceptions and consolidate power. Consider too, what isn’t represented here. What can the material choices, watercolor on paper instead of, say, oil on canvas, tell us about global trade networks and artistic exchange at that time? Editor: I see. Watercolor makes it feel more immediate, maybe less imposing. The painting also is from a particular socio-historical lens – and to consider global trade relationships and power structures gives the portrait even more depth! Curator: Absolutely. Examining these artworks, and really any object, demands critical engagement, an awareness of historical currents, and an understanding of whose stories are centered and whose are marginalized. It's about continuously questioning. Editor: That’s helpful, and something I will remember to focus on. Thank you! Curator: My pleasure. It’s by connecting the personal, the political and the aesthetic that art history becomes truly compelling.