18th-19th century
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.
4.4 x 24.2 x 3.7 cm (1 3/4 x 9 1/2 x 1 7/16 in.)
[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.
Ink and color on carved wood
19th centuryChineseOne of a pair of chūban (medium-sized) sheets of minogami (mulberry bark paper) treated with persimmon juice and cut using the "kiribori" (drill-carving), "dōgubori" (punch-carving), and "tsukibori" (thrust-carving) techniques; with overprinting in blue
19th-20th centuryJapanese