Illustration til Adam Olearius, “Persianischer Rosenthal von einem Sinnreichen Poeten Schich Saadi […]”, Schleswig 1660 1660

Editor: Here we have a rather striking engraving from 1660 by J. Muller, an illustration for Adam Olearius's "Persianischer Rosenthal." It's packed with figures and drama. What leaps out to you? Curator: Well, considering this print’s materiality, the engraving process itself offers a glimpse into 17th-century modes of production. The very act of carving those lines into the metal plate speaks to a specific type of skilled labor, wouldn't you agree? How might its circulation have impacted European perceptions of Persian culture? Editor: I hadn’t considered it in terms of labor. How were such skills traditionally developed? Were printmakers considered artisans or artists? Curator: Exactly. The guild system would regulate that, dictating who could produce what and controlling the market. Think about the social status associated with producing multiples, versus, say, a unique oil painting. Did that influence its reception? Was it “high” art? What might it reveal about the intended consumer market for Olearius’s book? Editor: So, even the *choice* of engraving for this illustration implies certain things about access and audience. Curator: Precisely! And note how the composition echoes other forms of illustrated texts available at the time, perhaps competing with or subtly transforming conventions for broader audiences. Consider the conditions in which prints like these were consumed - bound into books, individually sold and framed… These factors alter our perception today. Editor: This makes me think about accessibility in a completely different light! This engraving's existence is inherently tied to production, labor, and how those elements shaped the audience's encounter with Persian culture. Curator: Indeed! The story isn't just in the image itself, but also in its creation and distribution. That production reveals a cultural and economic ecosystem.