173http://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullFloral Carved Marble Stand19th centuryMarbleThis carved white marble object is a “henna stone” (sang-e ḥanā in Persian). It was used during the application of henna, a reddish dye frequently used by women to create temporary designs on their palms, feet, and other parts of the body. Required to remain motionless during the intricate application of henna to the soles of her feet, a woman would have rested her heels upon the two grooves of the henna stone. Henna was applied at public bath houses called hammams. Upper class women owned their own henna stones for personal use.Stoneworkhttp://collection.shangrilahawaii.org/objects/5484/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullCarved Marble Wall Panel with Parchin Kari (Semiprecious Stone Inlay) of Botanical Motifs1935-1938Marble, semiprecious stonesThis inlaid botanical design decorates a dado, or lower wall panel, of the bathroom in the Mughal Gallery. Its floral design is formed from multicolored gemstones inlaid into marble using a technique called parchin kari, meaning “inlay” or “driven-in” work. Although each of the botanical panels in this corpus is purported to have originated from existing Mughal examples, the source of this particular design is unknown. The rooms that today form the Mughal Gallery were originally Doris Duke’s private bedroom, dressing room and bathroom. They were referred to as the ‘Mughal Suite’ because of their architecture and decoration draw inspiration from the monuments of the Mughal dynasty, which ruled from 1526 until 1858 CE in South Asia. The inlaid marble, pierced stone screens and other decorative elements of the Mughal Suite can be compared, for instance, to the decoration of the Taj Mahal, the tomb built by the Mughal emperor Shah Jahan between 1631 and 1648 CE. Doris Duke would have seen the Taj and other Mughal buildings during her travels in India in 1935. Her version of Mughal architecture was created for her by the workshop of Rai Bahadur Seth Lachhman Das in Agra, India, working to the designs of Francis Barrington Blomfield, a British designer based in Delhi. The carved marble elements arrived and were installed in Hawaii in 1938-39.Stoneworkhttp://collection.shangrilahawaii.org/objects/7726/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullCarved Marble Wall Panel with Parchin Kari (Semiprecious Stone Inlay) of Botanical Motifs1935-1938Marble, semiprecious stonesThis inlaid botanical design decorates the dado, or lower wall panel, of the bathroom in the Mughal Gallery. Its floral design is formed from multicolored gemstones inlaid into marble using a technique called parchin kari, meaning “inlay” or “driven-in” work. This floral image is thought to be a poppy (Papaver orientale) and is formed from carnelian and jade. Like many of the botanical images represented in this corpus, this floral pattern is based on a Mughal design. The precedent for this image is found on the lower cenotaph of the Taj Mahal. The rooms that today form the Mughal Gallery were originally Doris Duke’s private bedroom, dressing room and bathroom. They were referred to as the ‘Mughal Suite’ because of their architecture and decoration draw inspiration from the monuments of the Mughal dynasty, which ruled from 1526 until 1858 CE in South Asia. The inlaid marble, pierced stone screens and other decorative elements of the Mughal Suite can be compared, for instance, to the decoration of the Taj Mahal, the tomb built by the Mughal emperor Shah Jahan between 1631 and 1648 CE. Doris Duke would have seen the Taj and other Mughal buildings during her travels in India in 1935. Her version of Mughal architecture was created for her by the workshop of Rai Bahadur Seth Lachhman Das in Agra, India, working to the designs of Francis Barrington Blomfield, a British designer based in Delhi. The carved marble elements arrived and were installed in Hawaii in 1938-39.Stoneworkhttp://collection.shangrilahawaii.org/objects/7727/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullCarved Marble Wall Panel with Parchin Kari (Semiprecious Stone Inlay) of Botanical Motifs1935-1938Marble, semiprecious stonesThis inlaid botanical design decorates a dado, or lower wall panel, of the bathroom in the Mughal Gallery. Its floral design is formed from multicolored gemstones inlaid into marble using a technique called parchin kari, meaning “inlay” or “driven-in” work. Although each of the botanical panels in this corpus is purported to have originated from existing Mughal examples, the source of this particular design is unknown. The rooms that today form the Mughal Gallery were originally Doris Duke’s private bedroom, dressing room and bathroom. They were referred to as the ‘Mughal Suite’ because of their architecture and decoration draw inspiration from the monuments of the Mughal dynasty, which ruled from 1526 until 1858 CE in South Asia. The inlaid marble, pierced stone screens and other decorative elements of the Mughal Suite can be compared, for instance, to the decoration of the Taj Mahal, the tomb built by the Mughal emperor Shah Jahan between 1631 and 1648 CE. Doris Duke would have seen the Taj and other Mughal buildings during her travels in India in 1935. Her version of Mughal architecture was created for her by the workshop of Rai Bahadur Seth Lachhman Das in Agra, India, working to the designs of Francis Barrington Blomfield, a British designer based in Delhi. The carved marble elements arrived and were installed in Hawaii in 1938-39.Stoneworkhttp://collection.shangrilahawaii.org/objects/7728/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullCarved Marble Wall Panel with Parchin Kari (Semiprecious Stone Inlay) of Botanical Motifs1935-1938Marble, semiprecious stonesThis inlaid botanical design decorates a dado, or lower wall panel, of the bathroom in the Mughal Gallery. The floral design is formed from multicolored gemstones inlaid into marble using a technique called parchin kari, meaning “inlay” or “driven-in” work. Like many of the botanical images represented in this corpus, this floral design is based on a Mughal design. The precedent for this image is found at the Diwan-i Am Throne Niche at the Agra Fort. The rooms that today form the Mughal Gallery were originally Doris Duke’s private bedroom, dressing room and bathroom. They were referred to as the ‘Mughal Suite’ because of their architecture and decoration draw inspiration from the monuments of the Mughal dynasty, which ruled from 1526 until 1858 CE in South Asia. The inlaid marble, pierced stone screens and other decorative elements of the Mughal Suite can be compared, for instance, to the decoration of the Taj Mahal, the tomb built by the Mughal emperor Shah Jahan between 1631 and 1648 CE. Doris Duke would have seen the Taj and other Mughal buildings during her travels in India in 1935. Her version of Mughal architecture was created for her by the workshop of Rai Bahadur Seth Lachhman Das in Agra, India, working to the designs of Francis Barrington Blomfield, a British designer based in Delhi. The carved marble elements arrived and were installed in Hawaii in 1938-39.Stoneworkhttp://collection.shangrilahawaii.org/objects/7729/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullCarved Marble Wall Panel with Parchin Kari (Semiprecious Stone Inlay) of Botanical Motifs1935-1938Marble, semiprecious stonesThis inlaid botanical design decorates the dado, or lower wall panel, of the bathroom in the Mughal Gallery. The floral design is formed from multicolored gemstones inlaid into marble using a technique called parchin kari, meaning “inlay” or “driven-in” work. This stylized clematis flower is created from inset stones of carnelian, lapis, and jade. Although each of the botanical panels in this corpus is purported to have originated from existing Mughal examples, the source of this particular design is unknown. The rooms that today form the Mughal Gallery were originally Doris Duke’s private bedroom, dressing room and bathroom. They were referred to as the ‘Mughal Suite’ because of their architecture and decoration draw inspiration from the monuments of the Mughal dynasty, which ruled from 1526 until 1858 CE in South Asia. The inlaid marble, pierced stone screens and other decorative elements of the Mughal Suite can be compared, for instance, to the decoration of the Taj Mahal, the tomb built by the Mughal emperor Shah Jahan between 1631 and 1648 CE. Doris Duke would have seen the Taj and other Mughal buildings during her travels in India in 1935. Her version of Mughal architecture was created for her by the workshop of Rai Bahadur Seth Lachhman Das in Agra, India, working to the designs of Francis Barrington Blomfield, a British designer based in Delhi. The carved marble elements arrived and were installed in Hawaii in 1938-39.Stoneworkhttp://collection.shangrilahawaii.org/objects/7730/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullCarved Marble Wall Panel with Parchin Kari (Semiprecious Stone Inlay) of Botanical Motifs1935-1938Marble, semiprecious stonesThis inlaid botanical design decorates a dado, or lower wall panel, of the bathroom in the Mughal Gallery. The floral design is formed from multicolored gemstones inlaid into marble using a technique called parchin kari, meaning “inlay” or “driven-in” work. Like many of the botanical images represented in this corpus, this floral design is based on an existing Mughal design. The precedent for this image is found at the Diwan-i Am Throne Niche at the Agra Fort. The rooms that today form the Mughal Gallery were originally Doris Duke’s private bedroom, dressing room and bathroom. They were referred to as the ‘Mughal Suite’ because of their architecture and decoration draw inspiration from the monuments of the Mughal dynasty, which ruled from 1526 until 1858 CE in South Asia. The inlaid marble, pierced stone screens and other decorative elements of the Mughal Suite can be compared, for instance, to the decoration of the Taj Mahal, the tomb built by the Mughal emperor Shah Jahan between 1631 and 1648 CE. Doris Duke would have seen the Taj and other Mughal buildings during her travels in India in 1935. Her version of Mughal architecture was created for her by the workshop of Rai Bahadur Seth Lachhman Das in Agra, India, working to the designs of Francis Barrington Blomfield, a British designer based in Delhi. The carved marble elements arrived and were installed in Hawaii in 1938-39.Stoneworkhttp://collection.shangrilahawaii.org/objects/7731/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullCarved Marble Wall Panel with Parchin Kari (Semiprecious Stone Inlay) of Botanical Motifs1935-1938Marble, semiprecious stonesThis inlaid botanical design decorates the dado, or lower wall panel, of the bathroom in the Mughal Gallery. The floral design is formed from multicolored gemstones inlaid into marble using a technique called parchin kari, meaning “inlay” or “driven-in” work. This floral image is thought to be a Turkscap lily (Lilium martagon). Like many of the botanical images represented in this corpus, this floral design is based on a Mughal design. The precedent for this image is found on the outer face of a marble screen at the Taj Mahal. The rooms that today form the Mughal Gallery were originally Doris Duke’s private bedroom, dressing room and bathroom. They were referred to as the ‘Mughal Suite’ because of their architecture and decoration draw inspiration from the monuments of the Mughal dynasty, which ruled from 1526 until 1858 CE in South Asia. The inlaid marble, pierced stone screens and other decorative elements of the Mughal Suite can be compared, for instance, to the decoration of the Taj Mahal, the tomb built by the Mughal emperor Shah Jahan between 1631 and 1648 CE. Doris Duke would have seen the Taj and other Mughal buildings during her travels in India in 1935. Her version of Mughal architecture was created for her by the workshop of Rai Bahadur Seth Lachhman Das in Agra, India, working to the designs of Francis Barrington Blomfield, a British designer based in Delhi. The carved marble elements arrived and were installed in Hawaii in 1938-39.Stoneworkhttp://collection.shangrilahawaii.org/objects/7732/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullCarved Marble Wall Panel with Parchin Kari (Semiprecious Stone Inlay) of Botanical Motifs1935-1938Marble, semiprecious stonesThis inlaid botanical design decorates a dado, or lower wall panel, of the bathroom in the Mughal Gallery. The floral design is formed from multicolored gemstones inlaid into marble using a technique called parchin kari, meaning “inlay” or “driven-in” work.This floral image is thought to be a Turkscap lily (Lilium martagon). Like many of the botanical images represented in this corpus, this floral design is based on a Mughal design. The precedent for this image is found on the outer face of a marble screen at the Taj Mahal. The rooms that today form the Mughal Gallery were originally Doris Duke’s private bedroom, dressing room and bathroom. They were referred to as the ‘Mughal Suite’ because of their architecture and decoration draw inspiration from the monuments of the Mughal dynasty, which ruled from 1526 until 1858 CE in South Asia. The inlaid marble, pierced stone screens and other decorative elements of the Mughal Suite can be compared, for instance, to the decoration of the Taj Mahal, the tomb built by the Mughal emperor Shah Jahan between 1631 and 1648 CE. Doris Duke would have seen the Taj and other Mughal buildings during her travels in India in 1935. Her version of Mughal architecture was created for her by the workshop of Rai Bahadur Seth Lachhman Das in Agra, India, working to the designs of Francis Barrington Blomfield, a British designer based in Delhi. The carved marble elements arrived and were installed in Hawaii in 1938-39.Stoneworkhttp://collection.shangrilahawaii.org/objects/7733/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullCarved Marble Wall Panel with Parchin Kari (Semiprecious Stone Inlay) of Botanical Motifs1935-1938Marble, semiprecious stonesThis inlaid botanical design decorates a dado, or lower wall panel, of the bathroom in the Mughal Gallery. The floral design is formed from multicolored gemstones inlaid into marble using a technique called parchin kari, meaning “inlay” or “driven-in” work. This floral image is thought to be a Turkscap lily (Lilium martagon). Like many of the botanical images represented in this corpus, this floral design is based on a Mughal design. The precedent for this image is found on the outer face of a marble screen at the Taj Mahal. The rooms that today form the Mughal Gallery were originally Doris Duke’s private bedroom, dressing room and bathroom. They were referred to as the ‘Mughal Suite’ because of their architecture and decoration draw inspiration from the monuments of the Mughal dynasty, which ruled from 1526 until 1858 CE in South Asia. The inlaid marble, pierced stone screens and other decorative elements of the Mughal Suite can be compared, for instance, to the decoration of the Taj Mahal, the tomb built by the Mughal emperor Shah Jahan between 1631 and 1648 CE. Doris Duke would have seen the Taj and other Mughal buildings during her travels in India in 1935. Her version of Mughal architecture was created for her by the workshop of Rai Bahadur Seth Lachhman Das in Agra, India, working to the designs of Francis Barrington Blomfield, a British designer based in Delhi. The carved marble elements arrived and were installed in Hawaii in 1938-39.Stoneworkhttp://collection.shangrilahawaii.org/objects/7734/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullCarved Marble Wall Panel with Parchin Kari (Semiprecious Stone Inlay) of Botanical Motifs1935-1938Marble, semiprecious stonesThis inlaid botanical design decorates a dado, or lower wall panel, of the bathroom in the Mughal Gallery. The floral design is formed from multicolored gemstones inlaid into marble using a technique called parchin kari, meaning “inlay” or “driven-in” work. Although each of the botanical panels in this corpus is purported to have originated from existing Mughal examples, the source of this particular design is unknown. The rooms that today form the Mughal Gallery were originally Doris Duke’s private bedroom, dressing room and bathroom. They were referred to as the ‘Mughal Suite’ because of their architecture and decoration draw inspiration from the monuments of the Mughal dynasty, which ruled from 1526 until 1858 CE in South Asia. The inlaid marble, pierced stone screens and other decorative elements of the Mughal Suite can be compared, for instance, to the decoration of the Taj Mahal, the tomb built by the Mughal emperor Shah Jahan between 1631 and 1648 CE. Doris Duke would have seen the Taj and other Mughal buildings during her travels in India in 1935. Her version of Mughal architecture was created for her by the workshop of Rai Bahadur Seth Lachhman Das in Agra, India, working to the designs of Francis Barrington Blomfield, a British designer based in Delhi. The carved marble elements arrived and were installed in Hawaii in 1938-39.Stoneworkhttp://collection.shangrilahawaii.org/objects/7735/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullCarved Marble Wall Panel with Parchin Kari (Semiprecious Stone Inlay) of Botanical Motifs1935-1938Marble, semiprecious stonesThis inlaid botanical design decorates a dado, or lower wall panel, of the bathroom in the Mughal Gallery. The floral design is formed from multicolored gemstones inlaid into marble using a technique called parchin kari, meaning “inlay” or “driven-in” work. This floral image is thought to be a poppy (Papaver orientale) and is formed from carnelian and jade. Like many of the botanical images represented in this corpus, this floral design is based on a Mughal design. The precedent for this image is found on the inner face of a marble screen at the Taj Mahal. The rooms that today form the Mughal Gallery were originally Doris Duke’s private bedroom, dressing room and bathroom. They were referred to as the ‘Mughal Suite’ because of their architecture and decoration draw inspiration from the monuments of the Mughal dynasty, which ruled from 1526 until 1858 CE in South Asia. The inlaid marble, pierced stone screens and other decorative elements of the Mughal Suite can be compared, for instance, to the decoration of the Taj Mahal, the tomb built by the Mughal emperor Shah Jahan between 1631 and 1648 CE. Doris Duke would have seen the Taj and other Mughal buildings during her travels in India in 1935. Her version of Mughal architecture was created for her by the workshop of Rai Bahadur Seth Lachhman Das in Agra, India, working to the designs of Francis Barrington Blomfield, a British designer based in Delhi. The carved marble elements arrived and were installed in Hawaii in 1938-39.Stoneworkhttp://collection.shangrilahawaii.org/objects/7736/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullCarved Marble Wall Panel with Parchin Kari (Semiprecious Stone Inlay) of Botanical Motifs1935-1938Marble, semiprecious stonesThis inlaid botanical design decorates a dado, or lower wall panel, of the bathroom in the Mughal Gallery. The floral design is formed from multicolored gemstones inlaid into marble using a technique called parchin kari, meaning “inlay” or “driven-in” work. Although each of the botanical panels in this corpus is purported to have originated from existing Mughal examples, the source of this particular design is unknown. The rooms that today form the Mughal Gallery were originally Doris Duke’s private bedroom, dressing room and bathroom. They were referred to as the ‘Mughal Suite’ because of their architecture and decoration draw inspiration from the monuments of the Mughal dynasty, which ruled from 1526 until 1858 CE in South Asia. The inlaid marble, pierced stone screens and other decorative elements of the Mughal Suite can be compared, for instance, to the decoration of the Taj Mahal, the tomb built by the Mughal emperor Shah Jahan between 1631 and 1648 CE. Doris Duke would have seen the Taj and other Mughal buildings during her travels in India in 1935. Her version of Mughal architecture was created for her by the workshop of Rai Bahadur Seth Lachhman Das in Agra, India, working to the designs of Francis Barrington Blomfield, a British designer based in Delhi. The carved marble elements arrived and were installed in Hawaii in 1938-39.Stoneworkhttp://collection.shangrilahawaii.org/objects/7737/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullCarved Marble Wall Panel with Parchin Kari (Semiprecious Stone Inlay) of Botanical Motifs1935-1938Marble, semiprecious stonesThis inlaid botanical design decorates the dado, or lower wall panel, of the bathroom in the Mughal Gallery. The floral design is formed from multicolored gemstones inlaid into marble using a technique called parchin kari, meaning “inlay” or “driven-in” work. Like many of the botanical images represented in this corpus, this floral design is based on an existing Mughal design. The precedent for this image is found on a dado in the Garden Pavilion of the Red Fort in Delhi. The rooms that today form the Mughal Gallery were originally Doris Duke’s private bedroom, dressing room and bathroom. They were referred to as the ‘Mughal Suite’ because of their architecture and decoration draw inspiration from the monuments of the Mughal dynasty, which ruled from 1526 until 1858 CE in South Asia. The inlaid marble, pierced stone screens and other decorative elements of the Mughal Suite can be compared, for instance, to the decoration of the Taj Mahal, the tomb built by the Mughal emperor Shah Jahan between 1631 and 1648 CE. Doris Duke would have seen the Taj and other Mughal buildings during her travels in India in 1935. Her version of Mughal architecture was created for her by the workshop of Rai Bahadur Seth Lachhman Das in Agra, India, working to the designs of Francis Barrington Blomfield, a British designer based in Delhi. The carved marble elements arrived and were installed in Hawaii in 1938-39.Stoneworkhttp://collection.shangrilahawaii.org/objects/7738/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullCarved Marble Wall Panel with Parchin Kari (Semiprecious Stone Inlay) of Botanical Motifs1935-1938Marble, semiprecious stonesThis inlaid botanical design decorates the dado, or lower wall panel, of the bathroom in the Mughal Gallery. The floral design is formed from multicolored gemstones inlaid into marble using a technique called parchin kari, meaning “inlay” or “driven-in” work. This floral image is thought to be a Turkscap lily (Lilium martagon). Like many of the botanical images represented in this corpus, this floral design is based on a Mughal design. The precedent for this image is found on the outer face of a marble screen at the Taj Mahal. The rooms that today form the Mughal Gallery were originally Doris Duke’s private bedroom, dressing room and bathroom. They were referred to as the ‘Mughal Suite’ because of their architecture and decoration draw inspiration from the monuments of the Mughal dynasty, which ruled from 1526 until 1858 CE in South Asia. The inlaid marble, pierced stone screens and other decorative elements of the Mughal Suite can be compared, for instance, to the decoration of the Taj Mahal, the tomb built by the Mughal emperor Shah Jahan between 1631 and 1648 CE. Doris Duke would have seen the Taj and other Mughal buildings during her travels in India in 1935. Her version of Mughal architecture was created for her by the workshop of Rai Bahadur Seth Lachhman Das in Agra, India, working to the designs of Francis Barrington Blomfield, a British designer based in Delhi. The carved marble elements arrived and were installed in Hawaii in 1938-39.Stoneworkhttp://collection.shangrilahawaii.org/objects/7739/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullCarved Marble Wall Panel with Parchin Kari (Semiprecious Stone Inlay) of Botanical Motifs1935-1938Marble, semiprecious stonesThis inlaid botanical design decorates a dado, or lower wall panel, of the bathroom in the Mughal Gallery. Its floral design is formed from multicolored gemstones inlaid into marble using a technique called parchin kari, meaning “inlay” or “driven-in” work. Although each of the botanical panels in this corpus is purported to have originated from existing Mughal examples, the source of this particular design is unknown. The rooms that today form the Mughal Gallery were originally Doris Duke’s private bedroom, dressing room and bathroom. They were referred to as the ‘Mughal Suite’ because of their architecture and decoration draw inspiration from the monuments of the Mughal dynasty, which ruled from 1526 until 1858 CE in South Asia. The inlaid marble, pierced stone screens and other decorative elements of the Mughal Suite can be compared, for instance, to the decoration of the Taj Mahal, the tomb built by the Mughal emperor Shah Jahan between 1631 and 1648 CE. Doris Duke would have seen the Taj and other Mughal buildings during her travels in India in 1935. Her version of Mughal architecture was created for her by the workshop of Rai Bahadur Seth Lachhman Das in Agra, India, working to the designs of Francis Barrington Blomfield, a British designer based in Delhi. The carved marble elements arrived and were installed in Hawaii in 1938-39. Stoneworkhttp://collection.shangrilahawaii.org/objects/7782/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullCarved Marble Wall Panel with Parchin Kari (Semiprecious Stone Inlay) of Botanical Motifs1935-1938Marble, semiprecious stonesThis inlaid botanical design decorates the dado, or lower wall panel, of the bathroom in the Mughal Gallery. The floral design is formed from multicolored gemstones inlaid into marble using a technique called parchin kari, meaning “inlay” or “driven-in” work. This floral design is thought to be a tulip and is formed from lapis and jade. Although each of the botanical panels in this corpus is purported to have originated from existing Mughal examples, the source of this particular design is unknown. The rooms that today form the Mughal Gallery were originally Doris Duke’s private bedroom, dressing room and bathroom. They were referred to as the ‘Mughal Suite’ because of their architecture and decoration draw inspiration from the monuments of the Mughal dynasty, which ruled from 1526 until 1858 CE in South Asia. The inlaid marble, pierced stone screens and other decorative elements of the Mughal Suite can be compared, for instance, to the decoration of the Taj Mahal, the tomb built by the Mughal emperor Shah Jahan between 1631 and 1648 CE. Doris Duke would have seen the Taj and other Mughal buildings during her travels in India in 1935. Her version of Mughal architecture was created for her by the workshop of Rai Bahadur Seth Lachhman Das in Agra, India, working to the designs of Francis Barrington Blomfield, a British designer based in Delhi. The carved marble elements arrived and were installed in Hawaii in 1938-39. Stoneworkhttp://collection.shangrilahawaii.org/objects/7783/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullCarved Marble Wall Panel with Parchin Kari (Semiprecious Stone Inlay) of Botanical Motifs1935-1938Marble, semiprecious stonesThis inlaid botanical design decorates the dado, or lower wall panel, of the bathroom in the Mughal Gallery. The floral design is formed from multicolored gemstones inlaid into marble using a technique called parchin kari, meaning “inlay” or “driven-in” work. This floral image is thought to be an anemone and is formed from carnelian and jade. Although each of the botanical panels in this corpus is purported to have originated from existing Mughal examples, the source of this particular design is unknown. The rooms that today form the Mughal Gallery were originally Doris Duke’s private bedroom, dressing room and bathroom. They were referred to as the ‘Mughal Suite’ because of their architecture and decoration draw inspiration from the monuments of the Mughal dynasty, which ruled from 1526 until 1858 CE in South Asia. The inlaid marble, pierced stone screens and other decorative elements of the Mughal Suite can be compared, for instance, to the decoration of the Taj Mahal, the tomb built by the Mughal emperor Shah Jahan between 1631 and 1648 CE. Doris Duke would have seen the Taj and other Mughal buildings during her travels in India in 1935. Her version of Mughal architecture was created for her by the workshop of Rai Bahadur Seth Lachhman Das in Agra, India, working to the designs of Francis Barrington Blomfield, a British designer based in Delhi. The carved marble elements arrived and were installed in Hawaii in 1938-39. Stoneworkhttp://collection.shangrilahawaii.org/objects/7784/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullCarved Marble Wall Panel with Parchin Kari (Semiprecious Stone Inlay) of Botanical Motifs1935-1938Marble, semiprecious stonesThis inlaid botanical design decorates the dado, or lower wall panel, of the bathroom in the Mughal Gallery. The floral design is formed from multicolored gemstones inlaid into marble using a technique called parchin kari, meaning “inlay” or “driven-in” work. This floral design is thought to be a tulip and is formed from lapis and jade. Although each of the botanical panels in this corpus is purported to have originated from existing Mughal examples, the source of this particular design is unknown. The rooms that today form the Mughal Gallery were originally Doris Duke’s private bedroom, dressing room and bathroom. They were referred to as the ‘Mughal Suite’ because of their architecture and decoration draw inspiration from the monuments of the Mughal dynasty, which ruled from 1526 until 1858 CE in South Asia. The inlaid marble, pierced stone screens and other decorative elements of the Mughal Suite can be compared, for instance, to the decoration of the Taj Mahal, the tomb built by the Mughal emperor Shah Jahan between 1631 and 1648 CE. Doris Duke would have seen the Taj and other Mughal buildings during her travels in India in 1935. Her version of Mughal architecture was created for her by the workshop of Rai Bahadur Seth Lachhman Das in Agra, India, working to the designs of Francis Barrington Blomfield, a British designer based in Delhi. The carved marble elements arrived and were installed in Hawaii in 1938-39. Stoneworkhttp://collection.shangrilahawaii.org/objects/7785/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullCarved Marble Wall Panel with Parchin Kari (Semiprecious Stone Inlay) of Botanical Motifs1935-1938Marble, semiprecious stonesThis inlaid botanical design decorates the dado, or lower wall panel,of the bathroom in the Mughal Gallery. The floral design is formed from multicolored gemstones inlaid into marble using a technique called parchin kari, meaning “inlay” or “driven-in” work. This floral image is thought to be a tulip. Like many of the botanical images represented in this corpus, this floral design is based on an existing Mughal design. The precedent for this image is found on the Diwan-i Am Throne Niche at Agra Fort. The rooms that today form the Mughal Gallery were originally Doris Duke’s private bedroom, dressing room and bathroom. They were referred to as the ‘Mughal Suite’ because of their architecture and decoration draw inspiration from the monuments of the Mughal dynasty, which ruled from 1526 until 1858 CE in South Asia. The inlaid marble, pierced stone screens and other decorative elements of the Mughal Suite can be compared, for instance, to the decoration of the Taj Mahal, the tomb built by the Mughal emperor Shah Jahan between 1631 and 1648 CE. Doris Duke would have seen the Taj and other Mughal buildings during her travels in India in 1935. Her version of Mughal architecture was created for her by the workshop of Rai Bahadur Seth Lachhman Das in Agra, India, working to the designs of Francis Barrington Blomfield, a British designer based in Delhi. The carved marble elements arrived and were installed in Hawaii in 1938-39. Stoneworkhttp://collection.shangrilahawaii.org/objects/7786/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullCarved Marble Wall Panel with Parchin Kari (Semiprecious Stone Inlay) of Botanical Motifs1935-1938Marble, semiprecious stonesThis inlaid botanical design decorates the dado, or lower wall panel, of the bathroom in the Mughal Gallery. The floral design is formed from multicolored gemstones inlaid into marble using a technique called parchin kari, meaning “inlay” or “driven-in” work. Like many of the botanical images represented in this corpus, this floral design is based on an existing Mughal design. The precedent for this image is found at the hammam of the Red Fort in Delhi. The rooms that today form the Mughal Gallery were originally Doris Duke’s private bedroom, dressing room and bathroom. They were referred to as the ‘Mughal Suite’ because of their architecture and decoration draw inspiration from the monuments of the Mughal dynasty, which ruled from 1526 until 1858 CE in South Asia. The inlaid marble, pierced stone screens and other decorative elements of the Mughal Suite can be compared, for instance, to the decoration of the Taj Mahal, the tomb built by the Mughal emperor Shah Jahan between 1631 and 1648 CE. Doris Duke would have seen the Taj and other Mughal buildings during her travels in India in 1935. Her version of Mughal architecture was created for her by the workshop of Rai Bahadur Seth Lachhman Das in Agra, India, working to the designs of Francis Barrington Blomfield, a British designer based in Delhi. The carved marble elements arrived and were installed in Hawaii in 1938-39. Stoneworkhttp://collection.shangrilahawaii.org/objects/7787/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullCarved Marble Wall Panel with Parchin Kari (Semiprecious Stone Inlay) of Botanical Motifs1935-1938Marble, semiprecious stonesThis inlaid botanical design decorates the dado, or lower wall panel, of the bathroom in the Mughal Gallery. The floral design is formed from multicolored gemstones inlaid into marble using a technique called parchin kari, meaning “inlay” or “driven-in” work. This floral image is thought to be a tulip. Like many of the botanical images represented in this corpus, this floral design is based on an existing Mughal design. The precedent for this image is found on the Diwan-i Am Throne Niche at Agra Fort. The rooms that today form the Mughal Gallery were originally Doris Duke’s private bedroom, dressing room and bathroom. They were referred to as the ‘Mughal Suite’ because of their architecture and decoration draw inspiration from the monuments of the Mughal dynasty, which ruled from 1526 until 1858 CE in South Asia. The inlaid marble, pierced stone screens and other decorative elements of the Mughal Suite can be compared, for instance, to the decoration of the Taj Mahal, the tomb built by the Mughal emperor Shah Jahan between 1631 and 1648 CE. Doris Duke would have seen the Taj and other Mughal buildings during her travels in India in 1935. Her version of Mughal architecture was created for her by the workshop of Rai Bahadur Seth Lachhman Das in Agra, India, working to the designs of Francis Barrington Blomfield, a British designer based in Delhi. The carved marble elements arrived and were installed in Hawaii in 1938-39. Stoneworkhttp://collection.shangrilahawaii.org/objects/7788/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullCarved Marble Wall Panel with Parchin Kari (Semiprecious Stone Inlay) of Botanical Motifs1935-1938Marble, semiprecious stonesThis inlaid botanical design decorates the dado, or lower wall panel, of the bathroom in the Mughal Gallery. The floral design is formed from multicolored gemstones inlaid into marble using a technique called parchin kari, meaning “inlay” or “driven-in” work. Like many of the botanical images represented in this corpus, this floral design is based on an existing Mughal design. The precedent for this image may have originated from the jharoka (enclosed balcony) at the Red Fort in Delhi. The rooms that today form the Mughal Gallery were originally Doris Duke’s private bedroom, dressing room and bathroom. They were referred to as the ‘Mughal Suite’ because of their architecture and decoration draw inspiration from the monuments of the Mughal dynasty, which ruled from 1526 until 1858 CE in South Asia. The inlaid marble, pierced stone screens and other decorative elements of the Mughal Suite can be compared, for instance, to the decoration of the Taj Mahal, the tomb built by the Mughal emperor Shah Jahan between 1631 and 1648 CE. Doris Duke would have seen the Taj and other Mughal buildings during her travels in India in 1935. Her version of Mughal architecture was created for her by the workshop of Rai Bahadur Seth Lachhman Das in Agra, India, working to the designs of Francis Barrington Blomfield, a British designer based in Delhi. The carved marble elements arrived and were installed in Hawaii in 1938-39. Stoneworkhttp://collection.shangrilahawaii.org/objects/7789/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullCarved Marble Wall Panel with Parchin Kari (Semiprecious Stone Inlay) of Botanical Motifs1935-1938Marble, semiprecious stonesThis inlaid botanical design decorates the dado, or lower wall panel, of the bathroom in the Mughal Gallery. The floral design is formed from multicolored gemstones inlaid into marble using a technique called parchin kari, meaning “inlay” or “driven-in” work. This floral image is thought to be a fantastic version of a bellflower (Campanula) and is formed from jade and carnelian. Like many of the botanical images represented in this corpus, this floral design is based on an existing Mughal design. The precedent for this image is found on the upper cenotaph of the Taj Mahal. The rooms that today form the Mughal Gallery were originally Doris Duke’s private bedroom, dressing room and bathroom. They were referred to as the ‘Mughal Suite’ because of their architecture and decoration draw inspiration from the monuments of the Mughal dynasty, which ruled from 1526 until 1858 CE in South Asia. The inlaid marble, pierced stone screens and other decorative elements of the Mughal Suite can be compared, for instance, to the decoration of the Taj Mahal, the tomb built by the Mughal emperor Shah Jahan between 1631 and 1648 CE. Doris Duke would have seen the Taj and other Mughal buildings during her travels in India in 1935. Her version of Mughal architecture was created for her by the workshop of Rai Bahadur Seth Lachhman Das in Agra, India, working to the designs of Francis Barrington Blomfield, a British designer based in Delhi. The carved marble elements arrived and were installed in Hawaii in 1938-39. Stoneworkhttp://collection.shangrilahawaii.org/objects/7790/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullCarved Marble Wall Panel with Parchin Kari (Semiprecious Stone Inlay) of Botanical Motifs1935-1938Marble, semiprecious stonesThis inlaid botanical design decorates a dado, or lower wall panel, of the bathroom in the Mughal Gallery. Its floral design is formed from multicolored gemstones inlaid into marble using a technique called parchin kari, meaning “inlay” or “driven-in” work. Although each of the botanical panels in this corpus is purported to have originated from existing Mughal examples, the source of this particular design is unknown. The rooms that today form the Mughal Gallery were originally Doris Duke’s private bedroom, dressing room and bathroom. They were referred to as the ‘Mughal Suite’ because of their architecture and decoration draw inspiration from the monuments of the Mughal dynasty, which ruled from 1526 until 1858 CE in South Asia. The inlaid marble, pierced stone screens and other decorative elements of the Mughal Suite can be compared, for instance, to the decoration of the Taj Mahal, the tomb built by the Mughal emperor Shah Jahan between 1631 and 1648 CE. Doris Duke would have seen the Taj and other Mughal buildings during her travels in India in 1935. Her version of Mughal architecture was created for her by the workshop of Rai Bahadur Seth Lachhman Das in Agra, India, working to the designs of Francis Barrington Blomfield, a British designer based in Delhi. The carved marble elements arrived and were installed in Hawaii in 1938-39. Stoneworkhttp://collection.shangrilahawaii.org/objects/7791/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullCarved Marble Wall Panel with Parchin Kari (Semiprecious Stone Inlay) of Botanical Motifs1935-1938Marble, semiprecious stonesThis inlaid botanical design decorates the dado, or lower wall panel, of the bathroom in the Mughal Gallery. The floral design is formed from multicolored gemstones inlaid into marble using a technique called parchin kari, meaning “inlay” or “driven-in” work. This floral image is thought to be a fantastic version of a bellflower (Campanula) and is formed from jade and carnelian. Like many of the botanical images represented in this corpus, this floral design is based on an existing Mughal design. The precedent for this image is found on the base and upper cenotaph of the Taj Mahal. The rooms that today form the Mughal Gallery were originally Doris Duke’s private bedroom, dressing room and bathroom. They were referred to as the ‘Mughal Suite’ because of their architecture and decoration draw inspiration from the monuments of the Mughal dynasty, which ruled from 1526 until 1858 CE in South Asia. The inlaid marble, pierced stone screens and other decorative elements of the Mughal Suite can be compared, for instance, to the decoration of the Taj Mahal, the tomb built by the Mughal emperor Shah Jahan between 1631 and 1648 CE. Doris Duke would have seen the Taj and other Mughal buildings during her travels in India in 1935. Her version of Mughal architecture was created for her by the workshop of Rai Bahadur Seth Lachhman Das in Agra, India, working to the designs of Francis Barrington Blomfield, a British designer based in Delhi. The carved marble elements arrived and were installed in Hawaii in 1938-39. Stoneworkhttp://collection.shangrilahawaii.org/objects/7792/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullCarved Marble Archway with Floral Motifs1935-1938MarbleThe pointed arches of the Mughal Gallery were inspired by the architecture of Mughal India. This style of arch and other architectural attributes were brought to the Indian subcontinent by the Mughals whose ancestors, the Timurids, originated in Central Asia. However, unlike Central Asian architecture, which was often elaborately ornamented ceramic tile, Mughal architecture developed new aesthetics in the hands of Indian artists working in local materials such as white marble and sandstone.Stoneworkhttp://collection.shangrilahawaii.org/objects/6419/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullCarved Marble Archway and Water Fountain with Floral Motifs1935-1938MarbleThis lotus-shaped, marble basin is ensconced within a niche over the sunken bathtub in the bathroom of the Mughal Gallery. Lotus blossoms line the underside of the curved arch. The spandrels of the niche are decorated with eight-petalled flowers. Marble carving existed in India since ancient times and took new forms and during the Mughal period, when naturalistic floral designs appeared across all forms of art — from jewelry to architecture. The artistic vocabulary remained a feature in Indian art long after the Mughal empire collapsed in the nineteenth century. Stoneworkhttp://collection.shangrilahawaii.org/objects/5482/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullCarved Marble Archway with Floral Motifs1935-1938MarbleThe pointed arches of the Mughal Gallery were inspired by the architecture of Mughal India. This style of arch and other architectural attributes were brought to the Indian subcontinent by the Mughals whose ancestors, the Timurids, originated in Central Asia. However, unlike Central Asian architecture, which was often elaborately ornamented ceramic tile, Mughal architecture developed new aesthetics in the hands of Indian artists working in local materials such as white marble and sandstone.Stoneworkhttp://collection.shangrilahawaii.org/objects/8926/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullCarved Marble Arched Mirror Frame with Floral Motifs1935-1938Marble, metal hardware, mirrorThis mirrored cabinet (one of a pair) is located within the bathroom of the Mughal Gallery. The mirror is framed within a carved marble arch with lotus design at the apex and floral motifs in the spandrels. The rooms that today form the Mughal Gallery were originally Doris Duke’s private bedroom, dressing room and bathroom. They were referred to as the ‘Mughal Suite’ because of their architecture and decoration draw inspiration from the monuments of the Mughal dynasty, which ruled from 1526 until 1858 CE in South Asia. The inlaid marble, pierced stone screens and other decorative elements of the Mughal Suite can be compared, for instance, to the decoration of the Taj Mahal, the tomb built by the Mughal emperor Shah Jahan between 1631 and 1648 CE. Doris Duke would have seen the Taj and other Mughal buildings during her travels in India in 1935. Her version of Mughal architecture was created for her by the workshop of Rai Bahadur Seth Lachhman Das in Agra, India, working to the designs of Francis Barrington Blomfield, a British designer based in Delhi. The carved marble elements arrived and were installed in Hawaii in 1938-39.Stoneworkhttp://collection.shangrilahawaii.org/objects/4031/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullCarved Marble Jali (Screen) Window with Floral Motifs1935-1938MarbleThis jali, or pierced stone screen, is one of four located in the bathroom of the Mughal Gallery. They have been placed in the windows to filter the light and provide privacy. Their botanical decorations are based on examples from marble dado (lower wall) panels at the Taj Mahal. The rooms that today form the Mughal Gallery were originally Doris Duke’s private bedroom, dressing room and bathroom. They were referred to as the ‘Mughal Suite’ because of their architecture and decoration draw inspiration from the monuments of the Mughal dynasty, which ruled from 1526 until 1858 CE in South Asia. The inlaid marble, pierced stone screens and other decorative elements of the Mughal Suite can be compared, for instance, to the decoration of the Taj Mahal, the tomb built by the Mughal emperor Shah Jahan between 1631 and 1648 CE. Doris Duke would have seen the Taj and other Mughal buildings during her travels in India in 1935. Her version of Mughal architecture was created for her by the workshop of Rai Bahadur Seth Lachhman Das in Agra, India, working to the designs of Francis Barrington Blomfield, a British designer based in Delhi. The carved marble elements arrived and were installed in Hawaii in 1938-39.Stoneworkhttp://collection.shangrilahawaii.org/objects/6420/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullCarved Marble Jali (Screen) Window with Floral Motifs1935-1938MarbleThis jali, or pierced stone screen, is one of four located in the bathroom of the Mughal Gallery. They have been placed in the windows to filter the light and provide privacy. Their botanical decorations are based on examples from marble dado (lower wall) panels at the Taj Mahal. The flower depicted on this jali may be a narcissus (daffodil). The rooms that today form the Mughal Gallery were originally Doris Duke’s private bedroom, dressing room and bathroom. They were referred to as the ‘Mughal Suite’ because of their architecture and decoration draw inspiration from the monuments of the Mughal dynasty, which ruled from 1526 until 1858 CE in South Asia. The inlaid marble, pierced stone screens and other decorative elements of the Mughal Suite can be compared, for instance, to the decoration of the Taj Mahal, the tomb built by the Mughal emperor Shah Jahan between 1631 and 1648 CE. Doris Duke would have seen the Taj and other Mughal buildings during her travels in India in 1935. Her version of Mughal architecture was created for her by the workshop of Rai Bahadur Seth Lachhman Das in Agra, India, working to the designs of Francis Barrington Blomfield, a British designer based in Delhi. The carved marble elements arrived and were installed in Hawaii in 1938-39.Stoneworkhttp://collection.shangrilahawaii.org/objects/6421/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullCarved Marble Jali (Screen) Window with Floral Motifs1935-1938MarbleThis jali, or pierced stone screen, is one of four located in the bathroom of the Mughal Gallery. They have been placed in the windows to filter the light and provide privacy. Their botanical decorations are based on examples from marble dado (lower wall) panels at the Taj Mahal. The flower depicted on this jali may be a gloriosa, or “glory lily.” The rooms that today form the Mughal Gallery were originally Doris Duke’s private bedroom, dressing room and bathroom. They were referred to as the ‘Mughal Suite’ because of their architecture and decoration draw inspiration from the monuments of the Mughal dynasty, which ruled from 1526 until 1858 CE in South Asia. The inlaid marble, pierced stone screens and other decorative elements of the Mughal Suite can be compared, for instance, to the decoration of the Taj Mahal, the tomb built by the Mughal emperor Shah Jahan between 1631 and 1648 CE. Doris Duke would have seen the Taj and other Mughal buildings during her travels in India in 1935. Her version of Mughal architecture was created for her by the workshop of Rai Bahadur Seth Lachhman Das in Agra, India, working to the designs of Francis Barrington Blomfield, a British designer based in Delhi. The carved marble elements arrived and were installed in Hawaii in 1938-39.Stoneworkhttp://collection.shangrilahawaii.org/objects/6422/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullCarved Marble Jali (Screen) Window with Floral Motifs1935-1938MarbleThis jali, or pierced stone screen, is one of four located in the bathroom of the Mughal Gallery. They have been placed in the windows to filter the light and provide privacy. Their botanical decorations are based on examples from marble dado (lower wall) panels at the Taj Mahal. The flower depicted on this jali may be a crown imperial (fritillaria imperialis). The rooms that today form the Mughal Gallery were originally Doris Duke’s private bedroom, dressing room and bathroom. They were referred to as the ‘Mughal Suite’ because of their architecture and decoration draw inspiration from the monuments of the Mughal dynasty, which ruled from 1526 until 1858 CE in South Asia. The inlaid marble, pierced stone screens and other decorative elements of the Mughal Suite can be compared, for instance, to the decoration of the Taj Mahal, the tomb built by the Mughal emperor Shah Jahan between 1631 and 1648 CE. Doris Duke would have seen the Taj and other Mughal buildings during her travels in India in 1935. Her version of Mughal architecture was created for her by the workshop of Rai Bahadur Seth Lachhman Das in Agra, India, working to the designs of Francis Barrington Blomfield, a British designer based in Delhi. The carved marble elements arrived and were installed in Hawaii in 1938-39.Stoneworkhttp://collection.shangrilahawaii.org/objects/6423/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullCarved Marble Mirror Frame with Floral Motifs1935-1938Marble, metal hardware, mirrorThis mirrored cabinet (one of a pair) is located within the bathroom of the Mughal Gallery. The mirror is framed within a carved marble arch with lotus design at the apex and floral motifs in the spandrels. The rooms that today form the Mughal Gallery were originally Doris Duke’s private bedroom, dressing room and bathroom. They were referred to as the ‘Mughal Suite’ because of their architecture and decoration draw inspiration from the monuments of the Mughal dynasty, which ruled from 1526 until 1858 CE in South Asia. The inlaid marble, pierced stone screens and other decorative elements of the Mughal Suite can be compared, for instance, to the decoration of the Taj Mahal, the tomb built by the Mughal emperor Shah Jahan between 1631 and 1648 CE. Doris Duke would have seen the Taj and other Mughal buildings during her travels in India in 1935. Her version of Mughal architecture was created for her by the workshop of Rai Bahadur Seth Lachhman Das in Agra, India, working to the designs of Francis Barrington Blomfield, a British designer based in Delhi. The carved marble elements arrived and were installed in Hawaii in 1938-39. Stoneworkhttp://collection.shangrilahawaii.org/objects/6424/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullCarved Marble and Parchin Kari (Semiprecious Stone Inlaid) Floor with Floral Motifs1935-1938Marble, semiprecious stonesScrolling floral designs of inlaid carnelian and jade outline the marble floor of the master bathroom of Shangri La’s Mughal Gallery. These botanical designs were created by contemporary artists, using the traditional technique called parchin kari, meaning “inlay” or “driven-in” work. This floral motif is thought to represent the bellflower (Campanula). Like many of the botanical images represented in this corpus, this floral design is based on an existing Mughal design. The precedent for this image is found on a dado (lower wall panel) within the Diwan-i Khas, or “Hall of Private Audiences” of the Red Fort in Delhi. Duke commissioned the Delhi-based firm, C.G. and F.B. Blomfield, to incorporate Mughal-inspired marble work into her bathroom of Shangri La. The work was carried out by contemporary craftsmen of the Agra-based firm, India Marble Works. Stoneworkhttp://collection.shangrilahawaii.org/objects/7816/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullViolet Glass Hanging Lamp20th centuryColored glass, brass hardwareThis violet hanging lamp was created in Austria in the 20th century for the Indian market. In the 19th and 20th century, European glass firms produced glass lamps and chandeliers to appeal to Eastern clientele. Some of the firms best known to design for the Easterm market include F. & C. Osler of Birmingham, England, Jonas Defries & Sons of London, and Baccarat of France. Due to an increased colonial presence, India was heavily influenced by Europe in the nineteenth century. European glassmaking firms produced elaborate chandeliers of colorful glass that illuminated the spectacular palaces of nineteenth-century maharajahs. Along with these royal patrons, well-to-do British and Indian civil servants shopped for European glassware in shops of Delhi, Bombay, and Calcutta.Glasshttp://collection.shangrilahawaii.org/objects/4029/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullFluted Blue Glass Hanging Lamp19th - 20th centuryColored glass, brass hardwareGlasshttp://collection.shangrilahawaii.org/objects/5558/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullFluted Blue Glass Hanging Lamp19th - 20th centuryColored glass, brass hardwareGlasshttp://collection.shangrilahawaii.org/objects/5559/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullFluted Blue Glass Hanging Lamp19th - 20th centuryColored glass, brass hardwareThis fluted glass hanging lamp is one of ten multi-colored lamps suspended in the Mughal Gallery of Shangri La. These lamps were created by Jonas Defries & Sons, a London glass firm that operated between the mid 19th- to early 20th centuries. Defries & Sons specialized in lighting fixtures, producing elegant chandeliers for London theaters and other public buildings. The firm also designed products for clientele in Western, Southern, and East Asia. Aiming at the Indian market, Defries & Sons challenged the monopoly on the Indian market held by another British firm, F. & C. Osler.Glasshttp://collection.shangrilahawaii.org/objects/5560/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullFluted Green Glass Hanging Lamp19th - 20th centuryColored glass, brass hardwareThis fluted glass hanging lamp is one of ten multi-colored lamps suspended in the Mughal Gallery of Shangri La. These lamps were created by Jonas Defries & Sons, a London glass firm that operated between the mid 19th- to early 20th centuries. Defries & Sons specialized in lighting fixtures, producing elegant chandeliers for London theaters and other public buildings. The firm also designed products for clientele in Western, Southern, and East Asia. Aiming at the Indian market, Defries & Sons challenged the monopoly on the Indian market held by another British firm, F. & C. Osler.Glasshttp://collection.shangrilahawaii.org/objects/5561/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullFluted Green Glass Hanging Lamp19th - 20th centuryColored glass, brass hardwareThis fluted glass hanging lamp is one of ten multi-colored lamps suspended in the Mughal Gallery of Shangri La. These lamps were created by Jonas Defries & Sons, a London glass firm that operated between the mid 19th- to early 20th centuries. Defries & Sons specialized in lighting fixtures, producing elegant chandeliers for London theaters and other public buildings. The firm also designed products for clientele in Western, Southern, and East Asia. Aiming at the Indian market, Defries & Sons challenged the monopoly on the Indian market held by another British firm, F. & C. Osler.Glasshttp://collection.shangrilahawaii.org/objects/5562/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullFluted Red Glass Hanging Lamp19th - 20th centuryColored glass, brass hardwareThis fluted glass hanging lamp is one of ten multi-colored lamps suspended in the Mughal Gallery of Shangri La. These lamps were created by Jonas Defries & Sons, a London glass firm that operated between the mid 19th- to early 20th centuries. Defries & Sons specialized in lighting fixtures, producing elegant chandeliers for London theaters and other public buildings. The firm also designed products for clientele in Western, Southern, and East Asia. Aiming at the Indian market, Defries & Sons challenged the monopoly on the Indian market held by another British firm, F. & C. Osler. Glasshttp://collection.shangrilahawaii.org/objects/5563/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullFluted Green Glass Hanging Lamp19th - 20th centuryColored glass, brass hardwareThis fluted glass hanging lamp is one of ten multi-colored lamps suspended in the Mughal Gallery of Shangri La. These lamps were created by Jonas Defries & Sons, a London glass firm that operated between the mid 19th- to early 20th centuries. Defries & Sons specialized in lighting fixtures, producing elegant chandeliers for London theaters and other public buildings. The firm also designed products for clientele in Western, Southern, and East Asia. Aiming at the Indian market, Defries & Sons challenged the monopoly on the Indian market held by another British firm, F. & C. Osler.Glasshttp://collection.shangrilahawaii.org/objects/5564/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullFluted Blue Glass Hanging Lamp19th - 20th centuryColored glass, brass hardwareThis fluted glass hanging lamp is one of ten multi-colored lamps suspended in the Mughal Gallery of Shangri La. These lamps were created by Jonas Defries & Sons, a London glass firm that operated between the mid 19th- to early 20th centuries. Defries & Sons specialized in lighting fixtures, producing elegant chandeliers for London theaters and other public buildings. The firm also designed products for clientele in Western, Southern, and East Asia. Aiming at the Indian market, Defries & Sons challenged the monopoly on the Indian market held by another British firm, F. & C. Osler.Glasshttp://collection.shangrilahawaii.org/objects/5565/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullFluted Green Glass Hanging Lamp19th - 20th centuryColored glass, brass hardwareThis fluted glass hanging lamp is one of ten multi-colored lamps suspended in the Mughal Gallery of Shangri La. These lamps were created by Jonas Defries & Sons, a London glass firm that operated between the mid 19th- to early 20th centuries. Defries & Sons specialized in lighting fixtures, producing elegant chandeliers for London theaters and other public buildings. The firm also designed products for clientele in Western, Southern, and East Asia. Aiming at the Indian market, Defries & Sons challenged the monopoly on the Indian market held by another British firm, F. & C. Osler.Glasshttp://collection.shangrilahawaii.org/objects/5566/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullFluted Blue Glass Hanging Lamp19th - 20th centuryColored glass, brass hardwareThis fluted glass hanging lamp is one of ten multi-colored lamps suspended in the Mughal Gallery of Shangri La. These lamps were created by Jonas Defries & Sons, a London glass firm that operated between the mid 19th- to early 20th centuries. Defries & Sons specialized in lighting fixtures, producing elegant chandeliers for London theaters and other public buildings. The firm also designed products for clientele in Western, Southern, and East Asia. Aiming at the Indian market, Defries & Sons challenged the monopoly on the Indian market held by another British firm, F. & C. Osler.Glasshttp://collection.shangrilahawaii.org/objects/5567/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullFluted Green Glass Hanging Lamp19th - 20th centuryColored glass, brass hardwareThis fluted glass hanging lamp is one of ten multi-colored lamps suspended in the Mughal Gallery of Shangri La. These lamps were created by Jonas Defries & Sons, a London glass firm that operated between the mid 19th- to early 20th centuries. Defries & Sons specialized in lighting fixtures, producing elegant chandeliers for London theaters and other public buildings. The firm also designed products for clientele in Western, Southern, and East Asia. Aiming at the Indian market, Defries & Sons challenged the monopoly on the Indian market held by another British firm, F. & C. Osler.Glasshttp://collection.shangrilahawaii.org/objects/5568/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullFluted Red Glass Hanging Lamp19th - 20th centuryColored glass, brass hardwareThis fluted glass hanging lamp is one of ten multi-colored lamps suspended in the Mughal Gallery of Shangri La. These lamps were created by Jonas Defries & Sons, a London glass firm that operated between the mid 19th- to early 20th centuries. Defries & Sons specialized in lighting fixtures, producing elegant chandeliers for London theaters and other public buildings. The firm also designed products for clientele in Western, Southern, and East Asia. Aiming at the Indian market, Defries & Sons challenged the monopoly on the Indian market held by another British firm, F. & C. Osler.Glasshttp://collection.shangrilahawaii.org/objects/5569/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullCast Metal Hanging Lamp with Pierced Floral Motifs19th-20th centuryCopper alloy plated with white metal, probably silverMetalworkhttp://collection.shangrilahawaii.org/objects/5492/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullCast Metal Hanging Lamp with Pierced Floral Motifs19th - 20th centuryCopper alloy plated with white metal, probably silverMetalworkhttp://collection.shangrilahawaii.org/objects/6190/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullCarved Wooden Chest of Drawers with Mother of Pearl Inlay19th centuryWood, mother-of-pearl, bone, metal wire, plated copper alloyThis bureau was created in Syria in the 19th century. Glittering pieces of mother-of-pearl decorate the draws, and its sides are painted white and carved with floral motifs. Artisans in Syrian were known for the construction of wooden furniture, typically carved from walnut wood. Boxes, chests, wardrobes, mirror frames, sofas, and chairs were expertly inlaid with mother-of-pearl. Today, the art of inlaying furniture continues to be practiced, the knowledge passed down by master craftsmen.Woodworkhttp://collection.shangrilahawaii.org/objects/4024/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullMirrored Muqarnas-Inspired Ceiling1938-1939Plaster (lime), mirrored glass, chrome plated brass moldings, steel armatureThis sparkling ceiling overlooks the former dressing room in the Mughal Gallery. The geometric, honeycomb-like vaults, called muqarnas, are formed from plaster inset with tiny, glittering mirrors. The inspiration for this design came from the tomb of Imam Reza in Mashhad in Iran, which Doris Duke visited on a trip to Iran in 1938. The mirrored ceiling, however, would not be out of place in Mughal India, where the domes and vaults of shish mahals, or “crystal palaces,” are covered with thousands of tiny mirrors, creating a dazzling effect. The rooms that today form the Mughal Gallery were originally Doris Duke’s private bedroom, dressing room and bathroom. They were referred to as the ‘Mughal Suite’ because of their architecture and decoration draw inspiration from the monuments of the Mughal dynasty, which ruled from 1526 until 1858 CE in South Asia. The inlaid marble, pierced stone screens and other decorative elements of the Mughal Suite can be compared, for instance, to the decoration of the Taj Mahal, the tomb built by the Mughal emperor Shah Jahan between 1631 and 1648 CE. Doris Duke would have seen the Taj and other Mughal buildings during her travels in India in 1935. Her version of Mughal architecture was created for her by the workshop of Rai Bahadur Seth Lachhman Das in Agra, India, working to the designs of Francis Barrington Blomfield, a British designer based in Delhi. The carved marble elements arrived and were installed in Hawaii in 1938-39.Stoneworkhttp://collection.shangrilahawaii.org/objects/5498/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullCarved Marble Jali (Screen) Door with Geometric and Floral Motifs1935-1938Marble, sandstone, bronze and steel hardwareThese perforated marble screens, or jalis, filter natural light into Mughal Gallery of Shangri La. The pattern of ten-pointed stars interlocked by hexagons containing five-pointed stars creates a cohesive, geometric pattern. The heavy screens slide back and forth, creating a contrast between a private chamber and airy space, opening into the garden. These screens were expertly carved by Indian craftsmen in the 1930s. Their design is based on jali screens from the upper story of the tomb of Itimad al-Daula in Agra, India. Completed in 1628 CE, this marble mausoleum is frequently referred to as a “jewel box,” and elements of its design are considered a precursor to the Taj Mahal.Stoneworkhttp://collection.shangrilahawaii.org/objects/3836/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullCarved Marble Archway with Geometric and Floral Motifs1935-1938Marble, sandstoneThese perforated marble screens, or jalis, filter natural light into Mughal Gallery of Shangri La. The pattern of ten-pointed stars interlocked by hexagons containing five-pointed stars creates a cohesive, geometric pattern. The heavy screens slide back and forth, creating a contrast between a private chamber and airy space, opening into the garden. These screens were expertly carved by Indian craftsmen in the 1930s. Their design is based on jali screens from the upper story of the tomb of Itimad al-Daula in Agra, India. Completed in 1628 CE, this marble mausoleum is frequently referred to as a “jewel box,” and elements of its design are considered a precursor to the Taj Mahal.Stoneworkhttp://collection.shangrilahawaii.org/objects/5509/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullCarved Marble Jali (Screen) Door with Geometric and Floral Motifs1935-1938Marble, sandstone, bronze and steel hardwareThese perforated marble screens, or jalis, filter natural light into Mughal Gallery of Shangri La. The pattern of ten-pointed stars interlocked by hexagons containing five-pointed stars creates a cohesive, geometric pattern. The heavy screens slide back and forth, creating a contrast between a private chamber and airy space, opening into the garden. These screens were expertly carved by Indian craftsmen in the 1930s. Their design is based on jali screens from the upper story of the tomb of Itimad al-Daula in Agra, India. Completed in 1628 CE, this marble mausoleum is frequently referred to as a “jewel box,” and elements of its design are considered a precursor to the Taj Mahal.Stoneworkhttp://collection.shangrilahawaii.org/objects/5511/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullCarved Marble Jali (Screen) Door with Geometric and Floral Motifs1935-1938Marble, sandstone, bronze and steel hardwareStoneworkhttp://collection.shangrilahawaii.org/objects/5512/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullCarved Marble Jali (Screen) Door with Geometric and Floral Motifs1935-1938Marble, sandstone, bronze and steel hardwareThese perforated marble screens, or jalis, filter natural light into Mughal Gallery of Shangri La. The pattern of ten-pointed stars interlocked by hexagons containing five-pointed stars creates a cohesive, geometric pattern. The heavy screens slide back and forth, creating a contrast between a private chamber and airy space, opening into the garden. These screens were expertly carved by Indian craftsmen in the 1930s. Their design is based on jali screens from the upper story of the tomb of Itimad al-Daula in Agra, India. Completed in 1628 CE, this marble mausoleum is frequently referred to as a “jewel box,” and elements of its design are considered a precursor to the Taj Mahal.Stoneworkhttp://collection.shangrilahawaii.org/objects/5513/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullCarved Marble Jali (Screen) Door with Geometric and Floral Motifs1935-1938Marble, sandstone, bronze and steel hardwareThese perforated marble screens, or jalis, filter natural light into Mughal Gallery of Shangri La. The pattern of ten-pointed stars interlocked by hexagons containing five-pointed stars creates a cohesive, geometric pattern. The heavy screens slide back and forth, creating a contrast between a private chamber and airy space, opening into the garden. These screens were expertly carved by Indian craftsmen in the 1930s. Their design is based on jali screens from the upper story of the tomb of Itimad al-Daula in Agra, India. Completed in 1628 CE, this marble mausoleum is frequently referred to as a “jewel box,” and elements of its design are considered a precursor to the Taj Mahal.Stoneworkhttp://collection.shangrilahawaii.org/objects/5516/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullCarved Marble Jali (Screen) Door with Geometric and Floral Motifs1935-1938Marble, sandstone, bronze and steel hardwareThese perforated marble screens, or jalis, filter natural light into Mughal Gallery of Shangri La. The pattern of ten-pointed stars interlocked by hexagons containing five-pointed stars creates a cohesive, geometric pattern. The heavy screens slide back and forth, creating a contrast between a private chamber and airy space, opening into the garden. These screens were expertly carved by Indian craftsmen in the 1930s. Their design is based on jali screens from the upper story of the tomb of Itimad al-Daula in Agra, India. Completed in 1628 CE, this marble mausoleum is frequently referred to as a “jewel box,” and elements of its design are considered a precursor to the Taj Mahal.Stoneworkhttp://collection.shangrilahawaii.org/objects/5510/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullCarved Marble Jali (Screen) Door with Geometric and Floral Motifs1935-1938Marble, sandstone, bronze and steel hardwareThese perforated marble screens, or jalis, filter natural light into Mughal Gallery of Shangri La. The pattern of ten-pointed stars interlocked by hexagons containing five-pointed stars creates a cohesive, geometric pattern. The heavy screens slide back and forth, creating a contrast between a private chamber and airy space, opening into the garden. These screens were expertly carved by Indian craftsmen in the 1930s. Their design is based on jali screens from the upper story of the tomb of Itimad al-Daula in Agra, India. Completed in 1628 CE, this marble mausoleum is frequently referred to as a “jewel box,” and elements of its design are considered a precursor to the Taj Mahal.Stoneworkhttp://collection.shangrilahawaii.org/objects/5508/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullCarved Marble Archway with Geometric and Floral Motifs1935-1938Marble, sandstoneThese perforated marble screens, or jalis, filter natural light into Mughal Gallery of Shangri La. The pattern of ten-pointed stars interlocked by hexagons containing five-pointed stars creates a cohesive, geometric pattern. The heavy screens slide back and forth, creating a contrast between a private chamber and airy space, opening into the garden. These screens were expertly carved by Indian craftsmen in the 1930s. Their design is based on jali screens from the upper story of the tomb of Itimad al-Daula in Agra, India. Completed in 1628 CE, this marble mausoleum is frequently referred to as a “jewel box,” and elements of its design are considered a precursor to the Taj Mahal.Stoneworkhttp://collection.shangrilahawaii.org/objects/5515/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullCarved Celadon Jade Covered Vase19th centuryJade, colored stonesThis vase is carved from white nephrite jade, inset with red and green stones, and delicately carved with floral motifs in low relief. The tradition of jade carving was brought to the Indian subcontinent by the Mughals whose Central Asian ancestors, the Timurids, prized the material. The art of jade carving excelled in the hands of Mughal artisans who employed a range of techniques, carving the stone in high and low relief and using an indigenous Indian technique called kundan to inset semi precious stones. This technique is also employed in traditional Indian jewelry.Hardstoneshttp://collection.shangrilahawaii.org/objects/3971/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullGold and Gem-Inset Pale Green Jade Cup with Flowering Vine Motifs20th centuryJade, gold, gemstonesThis jade bowl is carved from white nephrite jade and inset with gemstones in the shape of blossoming plants connected by swirling stems of thin gold wire. The gems are set using the kundan technique, in which strips of pure gold are applied around the stones to create the mount. Jade was a prized material in Mughal India. Nephrite jade, which ranges in color from dark green to pure white, was imported from Khotan in Central Asia. While the Mughal’s ancestors, the Timurids, preferred dark, opaque jade, later Mughal rulers favored white nephrite.Hardstoneshttp://collection.shangrilahawaii.org/objects/3850/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullGem and Gold-Inset Pale Green Jade Vase or Incense Burner with Flowering Vine and Pierced Peacock Motifs19th centuryJade, gold, silver, gemstonesThis incense burner is carved from pale green nephrite jade and inset with gemstones in the shape of flowering plants. The gems are embedded within thin strips of pure gold (a technique known as kundan), and delicate gold wire forms stems and vines. The carved filter - obscured by smoke when the incense burner was in use - is made of perforated marble in the shape of a bejeweled peacock amidst foliage.Hardstoneshttp://collection.shangrilahawaii.org/objects/3847/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullGold and Gem-Inset White Jade Lidded Bowl with Bird and Floral Motifs19th centuryJade, gold, silver, gemstonesThis white nephrite bowl is decorated with floral and bird motifs set with colorful gemstones. Its lid is capped with a round finial surrounded by long-necked birds and flying parrots. The gems are embedded within thin strips of pure gold, an indigenous Indian technique known as kundan. The art of jade carving was not practiced on the Indian subcontinent until the arrival of the Mughals whose ancestors, the Timurids, greatly valued the material, importing it from Central Asia at great expense. Jade carving flourished in the hands of Indian artisans. Mirror backs, bowls, drinking vessels, and writing boxes for imperial use were expertly carved by craftsmen.Hardstoneshttp://collection.shangrilahawaii.org/objects/3848/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullCarved Marble Fireplace Surround1970MarbleThe fireplace located on the Leahi (west facing) wall of the Mughal Gallery is carved from marble and capped with a half dome. This fireplace is based on a prototype from the Mughal Fort in Lahore. It was commissioned in 1965 from the Chishty Brothers in Lahore and installed at Shangri La in 1972, replacing the original fireplace created by the Delhi-based firm, C.G. and F.B. Blomfield. The original fireplace was a contemporary design that reflected trends in New Delhi.Stoneworkhttp://collection.shangrilahawaii.org/objects/5514/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullGold, Gem and Pearl-Inset White Jade Flat Perfume Bottle with Bird and Floral Motifs19th - 20th centuryJade, enameled gold, gemstones, pearlsThis perfume bottle is inset with gemstones in the shape of a blue bird among blossoming branches — appropriate imagery for the sweet-smelling liquid inside. Imagery of flora and fauna are frequent features of the art of the Mughal era, adorning an array of objects from the hilts of daggers to intricate ornaments. The artistic legacy of the Mughals persisted within the visual culture of India long after the empire collapsed in the nineteenth century. The flat-sided flask would have been suspended from the wearer’s belt.Hardstoneshttp://collection.shangrilahawaii.org/objects/3867/rdfKhanjar (dagger)18th CenturyJade, steel, goldThis type of dagger is known as a khanjar. Its pistol-shaped hilt is carved from dark green jade and adorned floral designs in shallow relief. The base of its slightly curving blade is decorated with a gold floral design. This type of dagger hilt appeared in India in the mid- to late-1600s. Illustrated examples can be seen in miniature paintings depicting the Mughal emperor, Aurangzeb (r. 1658-1797 CE).Hardstoneshttp://collection.shangrilahawaii.org/objects/3878/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullGem-Inlaid Carved Jade Pesh-Kabz Knife20th centuryJade, silver, gold, gemstonesThis type of dagger, known as pesh-kabz, originated in Iran and was brought to the Indian subcontinent by the Mughals. With a blade that tapers to a thin, triangular point, the pesh-kabz was adept at piercing and tearing chainmail armor during battle. Its hilt is made of pale green nephrite inset with gemstones forming floral sprays connected by thin gold wire stems. Jade was valued by the Mughals’ ancestors, the Timurids of Central Asia. They believed that jade brought victory in battle, and the material was often used in weaponry.Hardstoneshttp://collection.shangrilahawaii.org/objects/3879/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullGem and Gold-Inset White Jade Bottle with Floral Bud and Flowering Vine Motifs18th centuryJade, gold, gemstones Depictions of naturalistic plants flourished in the visual culture of the <b>Mughal<b> period (1526–1827) and continued long after the empire collapsed in the 19th century. During the reign of <b>Shah Jahan</b> (r. 1628–58), motifs of flowering plants were often set against a plain background and spaced at regular intervals. This design appearS throughout Mughal visual culture – from luxurious objects like this jade bottle to the walls of the Taj Mahal.Hardstoneshttp://collection.shangrilahawaii.org/objects/4874/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullCarved Sculpture of Krishna20th centuryChloritic schist, pigmentsThis sculpture represents Krishna, the earthly avatar of the Hindu god Vishnu. The sculpture is carved from a dark stone, typical of Krishna iconography, as the god is typically depicted with black or dark-blue skin.Stoneworkhttp://collection.shangrilahawaii.org/objects/3969/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullCarved Statue of Krishna Playing the Flute20th centuryChloritic schist, paint, gold, copper alloyThis sculpture depicts Krishna, the early embodiment of the Hindu god Vishnu, playfully playing a flute. Krishna was a cowherd who grew up in the mystical forests of Vrindavan where he met with his beloved Radha. Representations of the flute-playing Krishna are called Venugopala from venu, the Sanskrit word for flute, and Gopal, an epithet for Krishna. The enchanting melodies of Krishna’s flute attract the gopis or milkmaids.Stoneworkhttp://collection.shangrilahawaii.org/objects/3968/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullGem-Inset Enamelled Gold Pierced Coffee-Cup Holder (Zarf) with Floral Motifs19th centuryEnameled gold, mirror, gemstonesThis elegant vessel is a coffee cup holder. It is decorated with enameled pink flowers and green leaves in relief. A central pink-and-blue blossom rests at the bottom of the cup, and the inner rim is lined with six pink flowers. The cup is pierced with six teardrop-shaped openings and rests on a small, fluted foot adorned with pink petals. This ornate vessel speaks to the tradition of coffee drinking in India. Coffee was first recorded in the Mughal court during the reign of the fourth Mughal emperor Jahangir (r. 1605–1627 CE). It was a beverage imbibed by the elite, enjoyed in coffee houses called qahwakhanas.Metalworkhttp://collection.shangrilahawaii.org/objects/3870/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullEnamelled Gold Polychrome Beaker with Hindu Devotional Scenes on Exterior and Bottom19th centuryEnameled goldThe Mughal empire and its successors - a combination of British-ruled India and Princely States - was a deeply heterogenous place, with myriad languages, cultures, and religions existing and flourishing side by side. We know that the royal workshops of the Muslim Mughal courts, for example, were deeply influenced by the master Jain and Hindu craftspeople (among many others) who worked in them. This is a solid gold beaker/cup, richly enamelled with scenes of Hindu deities and their vahanas (vehicles/mounts). It pays tribute to a long line of master metalworking, jewellery making, and miniature painting skills honed for royal and courtly patrons.Metalworkhttp://collection.shangrilahawaii.org/objects/3868/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullEnamelled Gold Quatrefoil-Shaped Covered Box with Floral Motifs19th centuryEnameled goldThis quatrefoil, enameled box is decorated with red flowers on a white ground with green stems and leaves radiating from its central finial. The bottom is covered in translucent green enamel etched with a central eight-petaled flower surrounded by radiating leaves. Compartments within this box were designed to contain the ingredients for the preparation of a mild stimulant called paan. This mixture of areca palm nut, cardamom, clove, and chuna (lime paste) was a delicacy consumed at the Mughal court.Metalworkhttp://collection.shangrilahawaii.org/objects/3873/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullEnamelled Gold Octagonal Lidded Box with Bird and Floral Motifs on Exterior and Bottom19th - 20th centuryEnameled goldThis octagonal box is likely a pandan, a container used to store betel nut. Thin slices of betel nut were mixed with lime paste and spices to create pan, a mild intoxicant enjoyed at the Mughal court. The box is enveloped with elegantly intertwining floral motifs in white, red, and gold set against a ground of translucent green enamel. Tiny red and white birds rest upon the flowering stems. Flowering plants seem to be a favorite motif of Doris Duke, found throughout her collection, in jewelry, textiles, paintings, and even the architecture of the walls of Shangri La — from the dado panels and jali screens of the Mughal Gallery to the intricate ‘ajami paintings adorning the walls of the Ottoman and Qajar Galleries.Metalworkhttp://collection.shangrilahawaii.org/objects/3884/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullDiamond-Inset Enamelled Gold Elephant and Spear-Carrying Mahout Figurine19th - 20th centuryEnameled gold, diamondsIn 19th-century India, imaginative scenes featuring animals were popular subjects of lavish miniatures. This figurine of an elephant and its handler, or mahout, is brightly enameled and inlaid with diamonds. With its trunk raised, the elephant is posed in a confident march on an enameled base embellished with floral decoration. The mahout on its back carries a spear and bridle. The role of the mahout, to handle, train, and care for elephants, was a skilled vocation that was passed down through families, from father to son.Metalworkhttp://collection.shangrilahawaii.org/objects/4851/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullDiamond-Inset Enamelled Gold Elephant, Mahout, and Howdah-Enclosed Rider Figurine19th - 20th centuryEnameled gold, diamondsThis colorfully enameled elephant figurine bears a mahout, or elephant handler, and a ruler enthroned on a seat called a howdah. In India, elephants were employed as magnificent mounts for royal processions. On such occasions, the animals were adorned with their own regalia. This miniature elephant is draped with a large textile called a jhool, decorated with floral motifs and lined with inlaid diamonds. A smaller textile called a sehri rests atop its forehead.Metalworkhttp://collection.shangrilahawaii.org/objects/4852/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullEnameled Gold Peacock-Shaped Boat19th - 20th centuryEnameled goldThis miniature enamelled-gold boat is a much smaller, 19th-20th century replica of the writing case in the shape of an Indian boat which was presented to Edward VII when he visited India as the Prince of Wales. That "original" writing case, which still remains in the Royal Collection Trust, represents the mastery of Jaipur enamel techniques. The miniature versions of the writing case that circulate in collections and at auction do not serve the same utilitarian function. However, Jaipur enamellers still chose to incorporate a lockable compartment beneath the canopy at this boat’s center.Metalworkhttp://collection.shangrilahawaii.org/objects/4867/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullGem-Set Enameled Gold Peacock Figurine19th centuryEnameled gold, gemstonesThis, elegant gem-set gold bird - enamelled in colorful, primary shades and edged with diamonds - stands proudly with feathered tail on full display. Small figurines featuring whimsical animal scenes -such as charging rams, or trumpeting elephants - were popular themes for such gem-inset minatures in the 19th century in India. Some of them have functions - acting as chess pieces or tiny boxes, for example - but the peacock here seem to have been made simply to be admired.Metalworkhttp://collection.shangrilahawaii.org/objects/4871/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullDiamond-Inset Enamelled Gold Cusped-Octagonal Lidded Box with Enamelled (Kundun) Floral and Fan-Tailed Dove Motifs on Bottom19th centuryEnameled gold, diamondsThis octagonal box is made of enameled gold and inset with diamonds. This art of inlaying precious stones, known as kundan is a technique native to India, in which precious stones are embedded by thin strips of pure gold. The most vivid decoration is on the bottom of the box, where alternating flowers and fan-tailed doves encircle the central dove, proudly fanning its tail. The art of enameling may have been introduced to the Indian subcontinent through European diplomatic gifts or developed independently in the Deccan in southern India. Under the patronage of the Mughals, the technique was expertly incorporated into an indigenous Indian style. The artistic vocabularies developed during the rule of the Mughal dynasty persisted within the art of India long after the empire collapsed in the 19th century. Metalworkhttp://collection.shangrilahawaii.org/objects/4876/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullGem-Inset Enamelled Gold Octagonal Lidded Box and Finial with Floral and Bird Motifs19th centuryEnameled gold, gemstonesThis octagonal box is likely a pandan, a container used to store betel nut. Thin slices of betel nut were mixed with lime paste and spices to create paan, a mild intoxicant enjoyed at the Mughal court. The box is decorated with translucent green and red enamel and topped with a finial set with diamonds. The sides of the box display alternating patterns with bird motifs and floral designs inlaid with diamonds. The bottom of the box reveals the exposed gold and is decorated with a central rosette and a border of leaves and lotuses.Metalworkhttp://collection.shangrilahawaii.org/objects/4877/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullGem-Set Enameled Footed, Lidded Gold Cup with Handle; Bird and Floral Motifs19th centuryEnameled gold, diamondsThis lidded cup is adorned with ornamentation of flora and fauna, lined with roundels containing bouquets of red flowers and scenes of animals hunting. Plants and animals were keenly observed by Mughal emperors. The fourth Mughal ruler Jahangir (r. 1605–1627 CE) and his son Shah Jahan (r. 1628–1658 CE) were known for their interest in botany. Imagery of the natural world is abundant in the arts of Mughal India, adorning jewelry, dagger hilts, miniature paintings, and fine enameled wares. These motifs persisted in the arts of India long after the collapse of the Mughal empire in the 19th century.Metalworkhttp://collection.shangrilahawaii.org/objects/4880/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullGem-Set Enameled Footed Gold Cup with Bird and Floral Motifs19th centuryEnameled gold, gemstonesThis wine/sherbert cup is inset with gemstones and richly adorned with bird and floral motifs in enamel. Indian artists excelled at the art of enamelling, an art practiced by Muslim and Hindu artists alike from Multan and Lahore in present-day Pakistan to Jaipur in northern India. The practice of enameling was first recorded in India in the 1500s during the reign of the second Mughal emperor, Akbar the Great. According to his account, objects such as cups, flagons, and rings were adorned with enamel.Metalworkhttp://collection.shangrilahawaii.org/objects/6181/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullEnamelled Copper Crane Figurine20th centuryEnameled copper alloyThis sculpture of a crane (one of a pair) was created in Jaipur in the northeastern Indian state of Rajasthan in the twentieth century. It stands erect with both feet firmly planted on its circular stand. A feather-like texture is delicately applied to its copper surface in enamel. This noble bird may be a sarus crane, a species found throughout the northern and northwest lowlands of India. These cranes hold a particular significance in India, where they are regarded as sacred. Traditionally believed to mate for life, sarus cranes represent unconditional love and good fortune. According to Indian mythology, when one mate dies, the other will perish, refusing to eat or drink. Metalworkhttp://collection.shangrilahawaii.org/objects/3977/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullEnamelled Copper Crane Figurine20th centuryEnameled copper alloyThis crane sculpture (one of a pair) was made in the twentieth century in Jaipur, a city in the northeastern Indian state of Rajasthan. The crane poses with its neck erect and both feet resting on a circular stand. The copper surface is embellished with enamel in a feather-like pattern. This elegant bird may be a sarus crane, a species found throughout the northern and northwest lowlands of India, along the Ganges River. The fourth Mughal emperor Jahangir (r. 1605—1627 CE) took a great interest in natural history, and made detailed observations of the egg-laying habits of these cranes. In India, it was commonly believed that sarus cranes mate for life, and therefore represented love and good fortune. Jahangir was known to keep two cranes, which he named Layla and Majnun after the two lovers from the famous Persian legend of the same name.Metalworkhttp://collection.shangrilahawaii.org/objects/5446/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullPierced Copper Hanging Lamp with Thuluth Script19th - 20th centuryCopper alloy plated with white metal, probably silverThe South Asian gallery is illuminated by 4 pierced, copper alloy hanging lamps. Each is suspended from three chains with four cast medallion-shaped spacers. The pieced body of the lamps are divided into three bands. The uppermost band is encircled with a zig zag pattern. The central band is inscribed in Arabic in thuluth script with the honorifics of a Mamluk sultan. The bottom band is lined with rosebud motifs. The base of the lamps also contain inscriptions, encircled with zig zag patterns. These lamps were created in the 1800s and 1900s during the rule of the Ottoman empire. This style, known as “Mamluk Revival,” recalls the arts of the Mamluk dynasty in Egypt and Syria (1250–1517 CE). Metalworking of the Mamluk period was characterized by large, broad inscriptions, flowing arabesques, and floral ornamentation inspired by Ilkhanid and Chinese imports. Metalworkhttp://collection.shangrilahawaii.org/objects/3834/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullPierced Copper Hanging Lamp with Thuluth Script19th - 20th centuryCopper alloy plated with white metal, probably silverThe South Asian gallery is illuminated by 4 pierced, copper alloy hanging lamps. Each is suspended from three chains with four cast medallion-shaped spacers. The pieced body of the lamps are divided into three bands. The uppermost band is encircled with a zig zag pattern. The central band is inscribed in Arabic in thuluth script with the honorifics of a Mamluk sultan. The bottom band is lined with rosebud motifs. The base of the lamps also contain inscriptions, encircled with zig zag patterns. These lamps were created in the 1800s and 1900s during the rule of the Ottoman empire. This style, known as “Mamluk Revival,” recalls the arts of the Mamluk dynasty in Egypt and Syria (1250–1517 CE). Metalworking of the Mamluk period was characterized by large, broad inscriptions, flowing arabesques, and floral ornamentation inspired by Ilkhanid and Chinese imports. Metalworkhttp://collection.shangrilahawaii.org/objects/5441/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullPierced Copper Hanging Lamp with Thuluth Script19th - 20th centuryCopper alloy plated with white metal, probably silverThe South Asian gallery is illuminated by 4 pierced, copper alloy hanging lamps. Each is suspended from three chains with four cast medallion-shaped spacers. The pieced body of the lamps are divided into three bands. The uppermost band is encircled with a zig zag pattern. The central band is inscribed in Arabic in thuluth script with the honorifics of a Mamluk sultan. The bottom band is lined with rosebud motifs. The base of the lamps also contain inscriptions, encircled with zig zag patterns. These lamps were created in the 1800s and 1900s during the rule of the Ottoman empire. This style, known as “Mamluk Revival,” recalls the arts of the Mamluk dynasty in Egypt and Syria (1250–1517 CE). Metalworking of the Mamluk period was characterized by large, broad inscriptions, flowing arabesques, and floral ornamentation inspired by Ilkhanid and Chinese imports. Metalworkhttp://collection.shangrilahawaii.org/objects/5442/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullPierced Copper Hanging Lamp with Thuluth Script19th - 20th centuryCopper alloy plated with white metal, probably silverThe South Asian gallery is illuminated by 4 pierced, copper alloy hanging lamps. Each is suspended from three chains with four cast medallion-shaped spacers. The pieced body of the lamps are divided into three bands. The uppermost band is encircled with a zig zag pattern. The central band is inscribed in Arabic in thuluth script with the honorifics of a Mamluk sultan. The bottom band is lined with rosebud motifs. The base of the lamps also contain inscriptions, encircled with zig zag patterns. These lamps were created in the 1800s and 1900s during the rule of the Ottoman empire. This style, known as “Mamluk Revival,” recalls the arts of the Mamluk dynasty in Egypt and Syria (1250–1517 CE). Metalworking of the Mamluk period was characterized by large, broad inscriptions, flowing arabesques, and floral ornamentation inspired by Ilkhanid and Chinese imports. Metalworkhttp://collection.shangrilahawaii.org/objects/5443/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullPair of Gold-Set Diamond Bazubands (Armlets) with Enamelled (Kundun) Floral Onamentation on Reverse19th centuryEnameled gold, diamonds, silk and metal-thread cordThis pair of flexible armbands, known as a bazuband, are composed of multiple rows decorated with polychrome enamel and inlaid with diamonds. Bazuband were worn by both men and women. This miniature painting depicts a female courtier and her attendants shown wearing golden armbands, bangles and ear ornaments as they go about their tasks.Jewelryhttp://collection.shangrilahawaii.org/objects/4958/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullGem-Set Gold Necklace with Floral Spray Motifs and Enamelled (Kundun) Floral Ornamentation on Reverse19th - 20th centuryEnameled gold, seed pearls, rubies, diamonds, red glass beads, silk and metal-thread cordThis necklace is known as a champakali, because its bud-shaped beads are said to represent the buds of the Michelia champaca flower. These red glass beads are inlaid with diamonds in the shape of flowers with attached clusters of seed pearls and rubies. The reverse is decorated with polychrome enamel with a red floral design on a white ground. The necklace is secured with a silk and metal-thread cord.Jewelryhttp://collection.shangrilahawaii.org/objects/4969/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullDiamond, Pearl, and Sapphie Necklace with Quatrefoil Motifs and Enamelled (Kundun) Floral Ornamentation on Reverse19th centuryEnameled gold, diamonds, sapphire beads, pearls, seed pearls, blue glass beads, silk cordThis necklace is strung with enameled beads inlaid with uncut diamonds and fringed with round sapphire beads and seed pearls. Sapphires are rarely used on their own in traditional Indian jewelry. Associated with shani, or Saturn, the stone was believed to hold unwieldy power.Jewelryhttp://collection.shangrilahawaii.org/objects/5049/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullDiamond, Ruby and Sapphire Gold Choker (Ariya) with Floral and Geometric Motifs and Seed Pearl Pendants, with Enamelled (Kundun) Floral Ornamentation on Reverse19th centuryEnameled gold, diamonds, sapphires, emeralds, rubies, seed pearls, silk cordThis necklace is called an ariya, which literally means “wealthy.” This type of ridged, fringed necklace originated in the northern Indian state of Rajasthan. The choker is inlaid with diamonds and rubies forming a row of rosettes with alternating diamonds and rubies at their centers. The top of the choker is lined with seed pearls. Attached to the choker is a cascade of triangular, enameled beads, each set with a diamond and a fringe of seed pearls. The necklace is secured at the back of the neck with a silk cord. The necklace previously belonged to Madame Ganna Walska, a renowned Polish opera singer and expert gardener. Walska sold her expansive collection of Indian jewelry in order to finance the purchase of rare cycad plants for her garden. Jewelryhttp://collection.shangrilahawaii.org/objects/4960/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullCarved Hexagonal Emerald Brooch with Enamelled (Kundun) Bird and Floral Ornamentation on Reverse18th -19th centuryEnameled gold, emeralds, diamonds, pearlsJewelryhttp://collection.shangrilahawaii.org/objects/4961/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullPair of Gold-Set Pearl and Emerald Chandelier Earrings19th - 20th centuryEnameled gold, seed pearls, glass beads, diamonds, cordThese long chandelier ear ornaments are composed of clusters of seed pearls and glass beads. This type of ornament is traditionally worn by brides and dancers. To reduce the weight on the wearer’s ear, these ornaments are secured to the hair and other jewelry.Jewelryhttp://collection.shangrilahawaii.org/objects/4979/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullDiamond and Ruby-Inset Bracelet (Dasti) with Floral Motifs and Enamelled Floral Ornamentation on Reverse19th centuryEnameled gold, diamonds, foli-backed rubiesThis bracelet, called a dasti, is made up of alternating rows of rubies and diamonds. A central rosset is composed of a central, uncut diamond surrounded by rubies. The reverse of the bracelet is decorated in enamel with red flowers on a white ground, outlined with green leaves. The practice of enameling the reverse or inner faces of jewelry is characteristic of Jaipur, which was the center of enameling in India in the 1700s and 1800s. The stones were set using the kundan technique, in which strips of gold are applied around the stones to create the mount. The stones are often backed by gold or silver foil, catching the light and adding to their luminosity.Jewelryhttp://collection.shangrilahawaii.org/objects/4976/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullPair of Gem-Set Gold Hand Ornaments (Hathpul) with Floral Motifs19th centuryEnameled gold, emeralds, diamonds, rubies, silver, cordThis hathpul, or “hand-flower” is a traditional element of Indian bridal jewelry, also referred to as a panchangla, or “jewel for five fingers.” The diamond-shaped ornament of rubies is worn on the back of the hand, secured to the wearer's wrist with a chain and four finger rings. The hathpul is indigenous to India, dating to the seventh or eighth century.Jewelryhttp://collection.shangrilahawaii.org/objects/4962/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/61027/fullPair of Beryl-Set Enamelled Gold Bangles (Kada) with Floral Motifs19th centuryEnameled gold, berylThese large, gold bangles, or kada, are decorated with enamel and set with light blue beryl. This type of bangle is from northwestern India, where they are worn in pairs on each arm in between smaller bracelets and bangles.Jewelryhttp://collection.shangrilahawaii.org/objects/4982/rdf