Not currently on display at the V&A
1850-76 (made)
| Place of origin | Iran(made)Isfahan(made) |
From the fifteenth century onward, lacquer objects – including book bindings, pen cases, mirrors, boxes and Qur’an stands such as this one – gained popularity in Iran, peaking in production during the nineteenth century, with the Qajar dynasty (1797-1924). The vast increase in production across a variety of objects resulted in a considerable decline in quality; however, fine specimens continued to be done by certain artists in the cities of Shiraz, Isfahan, and Tehran. Much lacquerware during the Qajar period was also influenced by the increasing import of European artefacts, resulting in a distinctive Europeanization of designs and motifs. Lacquer production continued in Iran until 1924, when the Qajar dynasty was overthrown, after which point its production became determinably unfashionable.
Writing in the early nineteenth century, Sir William Ouseley, a Persian scholar and secretary to his brother, George III’s ambassador to the court of Fath Ali Shah (ruled 1797-1834), Sir Gore Ouseley, wrote: “At Ispahan the covers of the books are ornamented in a style particularly rich; and they often exhibit miniatures painted with considerable neatness and admirably varnished….Most provinces of the kingdome are supplied by this great city with pen-cases or kalamdans, made, like the book-covers, of pasteboard, and sometimes equally beautiful in their decorations….some contain, in various compartments on the lids, ends and sides, very interesting pictures executed in the best style of Persian miniature. The common subjects are battles and hunting-parties; but they often exhibit scenes from popular romances, among which the favourite scene seems to be Nizami’s story, the Loves of Khusrau and Shirin.”
Constructed of papier-mache and sometimes wood, lacquer objects were often decorated with small-scale paintings of popular motifs like floral patterns, birds, royal scenes, and popular romances before a varnish was then applied that protected the painting and added a pleasing reflective glow.
This mirror case would have held and protected a mirror glass. Mirror cases with closing shutters began to be used in Iran in the 1660s, when mirror glass began to be imported from Europe.
Object details
| Category | Lacquerware |
| Object type | Mirror case |
| Materials and techniques | Painted lacquer and mirror glass |
| Brief description | Twelve sided papier mache case, and hinged shutter, Iran, Qajar period, 1850-76 |
| Physical description | Twelve sided lacquered mirror case with hinged shutter depicting the Virgin and Child on a terrace; they are attended by women and an angel and surrounded by birds and animals in a lush landscape. On the reverse side, an elderly man enters the scene from the right, holding an open book. A fine band of golden scrolls against a black background decorates the edges. |
| Dimensions |
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| Summary | From the fifteenth century onward, lacquer objects – including book bindings, pen cases, mirrors, boxes and Qur’an stands such as this one – gained popularity in Iran, peaking in production during the nineteenth century, with the Qajar dynasty (1797-1924). The vast increase in production across a variety of objects resulted in a considerable decline in quality; however, fine specimens continued to be done by certain artists in the cities of Shiraz, Isfahan, and Tehran. Much lacquerware during the Qajar period was also influenced by the increasing import of European artefacts, resulting in a distinctive Europeanization of designs and motifs. Lacquer production continued in Iran until 1924, when the Qajar dynasty was overthrown, after which point its production became determinably unfashionable. Writing in the early nineteenth century, Sir William Ouseley, a Persian scholar and secretary to his brother, George III’s ambassador to the court of Fath Ali Shah (ruled 1797-1834), Sir Gore Ouseley, wrote: “At Ispahan the covers of the books are ornamented in a style particularly rich; and they often exhibit miniatures painted with considerable neatness and admirably varnished….Most provinces of the kingdome are supplied by this great city with pen-cases or kalamdans, made, like the book-covers, of pasteboard, and sometimes equally beautiful in their decorations….some contain, in various compartments on the lids, ends and sides, very interesting pictures executed in the best style of Persian miniature. The common subjects are battles and hunting-parties; but they often exhibit scenes from popular romances, among which the favourite scene seems to be Nizami’s story, the Loves of Khusrau and Shirin.” Constructed of papier-mache and sometimes wood, lacquer objects were often decorated with small-scale paintings of popular motifs like floral patterns, birds, royal scenes, and popular romances before a varnish was then applied that protected the painting and added a pleasing reflective glow. This mirror case would have held and protected a mirror glass. Mirror cases with closing shutters began to be used in Iran in the 1660s, when mirror glass began to be imported from Europe. |
| Bibliographic references |
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| Collection | Middle East Section |
| Accession number | 759-1876 |
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| Record created | June 24, 2009 |
| Record URL |
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