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Pen Box with Birds, Flowers, and Butterflies

View through Harvard Museums
The upper surface of this pen box (qalamdan) is divided into three lobed cartouches outlined in gold, their interstices filled with golden palmettes and flowers. A bird-and-flower composition uniting nightingale, rose, and blossoming branch dominates the center cartouche. The flanking compartments, one broadly mirroring the other save changes in palette, contain prunus blossoms, a tulip, and hovering butterflies that gather nectar from and pollinate the plants. The background of the pen box is a deep reddish brown flecked with particles of gold; it provides the ideal contrast for the bright colors used in the bird-and- flower designs. The coloristic effect of the palette—greens, white, blues, pinks, browns, and reds—has been unified by the layers of shellac varnish applied to the surface as a final stage. The sides of the pen box continue the subject matter of the upper face, similarly structured in three compositional groupings; the principal difference is that the birds directly confront the winged insects amid miniature floral thickets.
Department of Islamic & Later Indian Art [Hadji Baba Rabbi House of Antiquities Teheran 1973] sold; to Stanford and Norma Jean Calderwood Belmont MA (1973-2002) gift; to Harvard Art Museums 2002. Harvard Art Museums/Arthur M. Sackler Museum The Norma Jean Calderwood Collection of Islamic Art
Title: Pen Box with Birds, Flowers, and Butterflies
Description:
The upper surface of this pen box (qalamdan) is divided into three lobed cartouches outlined in gold, their interstices filled with golden palmettes and flowers.
A bird-and-flower composition uniting nightingale, rose, and blossoming branch dominates the center cartouche.
The flanking compartments, one broadly mirroring the other save changes in palette, contain prunus blossoms, a tulip, and hovering butterflies that gather nectar from and pollinate the plants.
The background of the pen box is a deep reddish brown flecked with particles of gold; it provides the ideal contrast for the bright colors used in the bird-and- flower designs.
The coloristic effect of the palette—greens, white, blues, pinks, browns, and reds—has been unified by the layers of shellac varnish applied to the surface as a final stage.
The sides of the pen box continue the subject matter of the upper face, similarly structured in three compositional groupings; the principal difference is that the birds directly confront the winged insects amid miniature floral thickets.

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