Portret van Khawwas-Khan, de Abessijn, de opperbevelhebber (peshwa) van Sultan Mahmud, de heerser van Bijapur c. 1686

This is a portrait of Khawwas-Khan made with watercolour on paper by an anonymous artist. Observe the subject's placement within a meticulously structured pictorial space. He's framed by a decorative border and set against a light green backdrop. The painting's composition emphasizes a tension between surface ornamentation and spatial depth. The floral motifs and geometric patterns adorning the frame and the lower parapet create a flat, decorative plane. The overall flatness of the painting, combined with the somewhat limited modelling of the figure, challenges Western notions of perspectival depth. This flatness can be seen as a deliberate aesthetic choice, shifting the focus from mimetic representation to symbolic communication. This approach invites us to consider how the painting operates as a sign, conveying meaning through its formal qualities. The use of colour and pattern creates a visual language that speaks to cultural identity, power, and representation. Consider how the formal elements of this portrait—its structure, composition, and limited depth—contribute to its overall meaning.