Portret van Mohammed Ben Abdelmalik, Pasja van Tanger 1783

Editor: This is Georg Borowsky’s 1783 engraving, "Portret van Mohammed Ben Abdelmalik, Pasja van Tanger," or, "Portrait of Mohammed Ben Abdelmalik, Pasha of Tangier." It's fascinating how Borowsky captured the Pasha’s likeness through the precise lines of engraving. The subject seems to hold an internal strength, or wisdom. What symbolism or imagery jumps out to you in this portrait? Curator: Notice how the rosary is centrally placed in the subject’s hands. Beyond its obvious religious connotation, consider its implications here. Beads as objects existed even in the pre-Islamic period as did the concept of repetitive prayer. In Islam the use of beads in dhikr ritual are attributed to the prophet Muhammed as an evolution of using stones or date pits. Does the inclusion of the rosary here emphasize a link between traditional spirituality and emergent political authority? Editor: That's a great point! So, the rosary connects him to both religious devotion and his societal role. Are there other visual elements you find striking? Curator: Consider also the turban, which carries connotations far beyond mere headdress. Turbans in many Islamic societies served, and still do, as symbols of status, religious affiliation, and even tribal identity. The style, size, and embellishments can denote lineage and learnedness. Can we interpret Borowsky’s careful detailing here as a way to convey a specific understanding of Abdelmalik’s power? Editor: So, Borowsky is using these symbols – the rosary and turban – to tell us something more about the Pasha’s identity. It’s like reading a layered story! Thank you for illuminating those aspects! Curator: My pleasure. It's in understanding these visual signifiers that we can truly grasp the depth of historical portraiture.