"Dervish Leading a Bear", Folio from the Shah Jahan Album 1505 - 1665

Editor: Here we have "Dervish Leading a Bear," a folio from the Shah Jahan Album, made between 1505 and 1665. It looks like watercolor, and the artist is Govardhan. It's quite a striking image—the floral border surrounding the central scene gives a sense of refinement. How would you interpret this work, especially considering its materiality? Curator: Consider the means of production: finely ground pigments, handmade paper, the labor of the artist and artisans involved in creating the floral borders. It's a miniature, right? Think about the conditions of artistic labor under the Mughal court. Was this artist paid? How would they get pigments? The intense details we see speaks volumes about their skills. Editor: That's fascinating. I hadn't really thought about the materials and processes as much as the imagery itself. What do you think this imagery signifies? Curator: Instead of trying to decode what the figures symbolize, let's look at its physicality: how do the imported materials—likely from across the Mughal empire—reflect its status? The very act of creating these miniature paintings became part of courtly ritual and patronage. The relationship with material wealth tells as much story here as subject of this painting does. What are the indications of that materiality and production for you? Editor: I see what you mean now, especially given the intense labor involved. I'm looking at the precision within the floral borders. So rather than merely serving a decorative purpose, its materiality tells its own story. Curator: Exactly. Focusing on materials lets us question traditional art boundaries and even question historical accounts on patronage. Editor: Thank you, looking at this piece through the lens of materiality makes me appreciate the labor and the social and historical context that it is entrenched into! Curator: I agree, let's think together about that lens going forward.