56http://collection.shangrilahawaii.org/internal/media/dispatcher/19700/fullPolychrome Tile Panel with Vase Motif17th centuryCeramic, polychrome pigmentsThis panel is composed of painted ceramic tiles depicting a central vase surrounded by flowering plants and flying fowl against a yellow ground. The composition is lined with a double border of a flowering vine scroll and blue and yellow crenelations. This colorful composition was achieved using the black-line technique (also known as cuerda seca), which was popular during the Safavid period in Iran (1501–1722 CE). Before the initial firing of the tiles, each was coated with a white glaze. Artists transferred a premade design onto the tiles by pricking holes through a preparatory drawing, placing the drawing over the ceramic surface, and dusting charcoal through the holes to create an outline. A master draftsman traced the design with a mixture of oil and manganese to prevent the colors from running together in the kiln. Artisans of the workshop applied colorful glazes before the tile was fired again. The mixture of oil and manganese burnt off during the firing process, leaving a dark line. This technique was much more cost and time-efficient than the process of creating tile mosaics, in which glazed ceramics were fired and cut into individual, interlocking shapes. These were assembled upside-down in a frame over a drawing of the design and secured by plaster and cane.Ceramicshttp://collection.shangrilahawaii.org/objects/6029/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/19700/fullPolychrome Tile Panel with Vase Motif17th centuryCeramic, polychrome pigmentsThis panel is composed of painted ceramic tiles depicting a central vase surrounded by flowering plants and flying fowl against a yellow ground. The composition is lined with a double border of a flowering vine scroll and blue and yellow crenelations. This colorful composition was achieved using the black-line technique (also known as cuerda seca), which was popular during the Safavid period in Iran (1501–1722 CE). Before the initial firing of the tiles, each was coated with a white glaze. Artists transferred a premade design onto the tiles by pricking holes through a preparatory drawing, placing the drawing over the ceramic surface, and dusting charcoal through the holes to create an outline. A master draftsman traced the design with a mixture of oil and manganese to prevent the colors from running together in the kiln. Artisans of the workshop applied colorful glazes before the tile was fired again. The mixture of oil and manganese burnt off during the firing process, leaving a dark line. This technique was much more cost and time-efficient than the process of creating tile mosaics, in which glazed ceramics were fired and cut into individual, interlocking shapes. These were assembled upside-down in a frame over a drawing of the design and secured by plaster and cane.Ceramicshttp://collection.shangrilahawaii.org/objects/6028/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/19700/fullPolychrome Tile Panel with Vase Motif17th centuryCeramic, polychrome pigmentsThis panel is composed of painted ceramic tiles depicting a blue flower vase flanked by cypress trees, and surrounded with flowering plants. Pairs of ducks float above the branches among swirling, Chinese-style clouds. The motifs present within the art of the Safavid era (1501–1722 CE) reveal the influence of Chinese art - in particular, porcelain design. Chinese porcelain reached Iran by the late 1300s. By the 1600s, Iranian artists were adapting elements of Chinese design, such as floral motifs and cloud bands, to suit their own tastes. For example, the large, fan-shaped flower with lobed petals in the center of the vase evolved from a Chinese floral motif, becoming a stylized palmette.Ceramicshttp://collection.shangrilahawaii.org/objects/6030/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/19700/fullPolychrome Tile Panel with Vase Motif17th centuryCeramic, polychrome pigmentsEagles soar among swirling clouds and diving ducks, blue and turquoise songbirds perch among flowering branches, and a tiger pounces from within leafy foliage toward a pair of unfortunate ibex. This imagery captures a continuous theme in Iranian art: the hunt. Scenes of humans and animals hunting have been depicted in the arts of Iran since pre-Islamic times, appearing in stone carving and metal vessels of the Achaemenids and Sasanians. The motif of the hunt is called Gereft-o Gir (“catching and hunting”) in Persian. During the Safavid period (1501–1722 CE), artists of the court-sponsored workshops depicted hunting scenes that were shared across multiple forms of media. Gereft-o Gir was especially prominent in Safavid carpet design.Ceramicshttp://collection.shangrilahawaii.org/objects/6027/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/19700/fullPolychrome Tile Panel with Medallions and Trees17th centuryCeramic, polychrome pigmentsThis tile panel (one of a pair) is assembled from individual painted tiles depicting diamond- and trefoil-shaped medallions embellished with floral designs and leaves in the saz style (with serrated edges). The medallions are flanked by flowering trees with twisted trunks, and the white ground is filled with flowering plants. The double border is lined with a floral scroll and blue and yellow crenellations. This tile panel was purchased from a home in New Julfa, an Armenian suburb of Isfahan, Iran. The fifth ruler of Safavid Iran, Shah ‘Abbas I (r. 1588-1629 CE) relocated the Armenian population of Julfa in present-day Azerbaijan to the suburb of Isfahan. The Armenian immigrants were an essential asset to the Safavids, controlling the trade in silks. New Julfa soon became a bustling center with its own market places, bath houses, public buildings, workshops, and churches. As in contemporary Islamic buildings, the Armenian residents of New Julfa incorporated painted ceramic tiles into the architectural designs of both religious and secular buildings. A combination of Armenian and Safavid aesthetics can be found within the interior of the churches of New Julfa; vivid frescoes depict scenes with Christian themes, while painted tiles in the Safavid style line the dado (lower walls).Ceramicshttp://collection.shangrilahawaii.org/objects/6099/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/19700/fullPolychrome Tile Panel with Medallions and Trees17th centuryCeramic, polychrome pigmentsThis tile panel (one of a pair) is assembled from individual painted tiles depicting diamond- and trefoil-shaped medallions embellished with floral designs and leaves in the saz style (with serrated edges). The medallions are flanked by flowering trees with twisted trunks, and the white ground is filled with flowering plants. The double border is lined with a floral scroll and blue and yellow crenellations. This tile panel was purchased from a home in New Julfa, an Armenian suburb of Isfahan, Iran. The fifth ruler of Safavid Iran, Shah ‘Abbas I (r. 1588-1629 CE) relocated the Armenian population of Julfa in present-day Azerbaijan to the suburb of Isfahan. The Armenian immigrants were an essential asset to the Safavids, controlling the trade in silks. New Julfa soon became a bustling center with its own market places, bath houses, public buildings, workshops, and churches. As in contemporary Islamic buildings, the Armenian residents of New Julfa incorporated painted ceramic tiles into the architectural designs of both religious and secular buildings. A combination of Armenian and Safavid aesthetics can be found within the interior of the churches of New Julfa; vivid frescoes depict scenes with Christian themes, while painted tiles in the Safavid style line the dado (lower walls).Ceramicshttp://collection.shangrilahawaii.org/objects/4157/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/19700/fullPolychrome Tile Panel with Flowering Vase Motif17th centuryCeramic, polychrome pigmentsThis tile panel is filled with a lively composition of a vase brimming with flowers, and surrounded by trees with twisting trunks and flowering plants with feathery leaves. The multicolored composition was achieved using the black-line technique (also known as cuerda seca) in which a substance containing oil and manganese was used to outline the designs to keep the colorful glazes from running together. During the firing process, this substance would burn away in the kiln, leaving only a sharp, dark outline. This technique was extensively used during the reign of the fifth Safavid ruler Shah 'Abbas I (r. 1588-1629 CE). During his reign, many important religious and secular buildings were erected in the capitol city of Isfahan, Iran, each clad in the colorful tile.Ceramicshttp://collection.shangrilahawaii.org/objects/6101/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/19700/fullPolychrome Tile Panel with Flowering Vase Motif17th centuryCeramic, polychrome pigmentsThis tile panel is filled with a lively composition of a vase brimming with flowers, and surrounded by trees with twisting trunks and flowering plants with feathery leaves. The multicolored composition was achieved using the black-line technique (also known as cuerda seca) in which a substance containing oil and manganese was used to outline the designs to keep the colorful glazes from running together. During the firing process, this substance would burn away in the kiln, leaving only a sharp, dark outline. This technique was extensively used during the reign of the fifth Safavid ruler Shah 'Abbas I (r. 1588-1629 CE). During his reign, many important religious and secular buildings were erected in the capitol city of Isfahan, Iran, each clad in the colorful tile.Ceramicshttp://collection.shangrilahawaii.org/objects/6100/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/19700/fullPolychrome Tile Panel with Floral Vase Motif17th centuryCeramic, polychrome pigmentsThis panel is composed of individually painted ceramic tiles depicting a vase brimming with blue, yellow, red, and turquoise flowers with delicate green leaves. The composition is lined with a double border of a flowering scroll and blue and yellow crenelations. The panel was created during the Safavid period (1501–1722 CE), when both religious and secular buildings were clad in brightly colored ceramic tile. The Safavids inherited the tradition of ornate floral ornamentation from their ancestors, the Timurids, but incorporated larger, more naturalistic flowers into their designs.Ceramicshttp://collection.shangrilahawaii.org/objects/4159/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/19700/fullPolychrome Tile Panel with Floral Vase Motif17th centuryCeramic, polychrome pigmentsThis panel is composed of individually painted ceramic tiles depicting a vase brimming with blue, yellow, red, and turquoise flowers with delicate green leaves. The composition is lined with a double border of a flowering scroll and blue and yellow crenelations. The panel was created during the Safavid period (1501–1722 CE), when both religious and secular buildings were clad in brightly colored ceramic tile. The Safavids inherited the tradition of ornate floral ornamentation from their ancestors, the Timurids, but incorporated larger, more naturalistic flowers into their designs.Ceramicshttp://collection.shangrilahawaii.org/objects/6021/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/19700/fullPolychrome Tile Panel with Floral Vase Motif17th centuryCeramic, polychrome pigmentsThis panel is composed of individually painted ceramic tiles depicting a vase brimming with blue, yellow, red, and turquoise flowers with delicate green leaves. The composition is lined with a double border of a flowering scroll and blue and yellow crenelations. The panel was created during the Safavid period (1501–1722 CE), when both religious and secular buildings were clad in brightly colored ceramic tile. The Safavids inherited the tradition of ornate floral ornamentation from their ancestors, the Timurids, but incorporated larger, more naturalistic flowers into their designs.Ceramicshttp://collection.shangrilahawaii.org/objects/6022/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/19700/fullPolychrome Tile Panel with Floral Vase Motif17th centuryCeramic, polychrome pigmentsThis panel is composed of individually painted ceramic tiles depicting a vase brimming with blue, yellow, red, and turquoise flowers with delicate green leaves. The composition is lined with a double border of a flowering scroll and blue and yellow crenelations. The panel was created during the Safavid period (1501–1722 CE), when both religious and secular buildings were clad in brightly colored ceramic tile. The Safavids inherited the tradition of ornate floral ornamentation from their ancestors, the Timurids, but incorporated larger, more naturalistic flowers into their designs.Ceramicshttp://collection.shangrilahawaii.org/objects/6023/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/19700/fullPolychrome Tile Panel with Floral Vase and Cypress Trees17th centuryCeramic, polychrome pigmentsThis panel (one of an identical pair) is composed of painted tiles depicting a central, flower-filled vase flanked on either side with cypress trees inhabited by colorful songbirds. Waterfowl float above the tips of the trees among swirling clouds, and yellow fish swim along the bottom of the panel. The composition is lined with a double border of intertwining, leafy vines and blue and yellow crenelations. During the Safavid period in Iran (1501–1722 CE), buildings were clad in ceramic tile adorned with lush imagery such as this. The designs were created within court-sponsored workshops and were shared to other media, such as manuscript painting and textiles. These panels are especially similar to carpet design. Safavid carpets were known for their complex designs and vivid depictions of plants, animals, calligraphy, and human figures.Ceramicshttp://collection.shangrilahawaii.org/objects/6024/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/19700/fullPolychrome Tile Panel with Floral Vase and Cypress Trees17th centuryCeramic, polychrome pigmentsThis panel (one of an identical pair) is composed of painted tiles depicting a central, flower-filled vase flanked on either side with cypress trees inhabited by colorful songbirds. Waterfowl float above the tips of the trees among swirling clouds, and yellow fish swim along the bottom of the panel. The composition is lined with a double border of intertwining, leafy vines and blue and yellow crenelations. During the Safavid period in Iran (1501–1722 CE), buildings were clad in ceramic tile adorned with lush imagery such as this. The designs were created within court-sponsored workshops and were shared to other media, such as manuscript painting and textiles. These panels are especially similar to carpet design. Safavid carpets were known for their complex designs and vivid depictions of plants, animals, calligraphy, and human figures.Ceramicshttp://collection.shangrilahawaii.org/objects/4158/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/19700/fullPolychrome Tile Panel with Double-Vase Motif17th - 18th centuryCeramic, polychrome pigmentsEagles soar among swirling clouds and diving ducks, blue and turquoise songbirds perch among flowering branches, and a tiger pounces from within leafy foliage toward a pair of unfortunate ibex. This imagery captures a continuous theme in Iranian art: the hunt. Scenes of humans and animals hunting have been depicted in the arts of Iran since pre-Islamic times, appearing in stone carving and metal vessels of the Achaemenids and Sasanians. The motif of the hunt is called Gereft-o Gir (“catching and hunting”) in Persian. During the Safavid period (1501–1722 CE), artists of the court-sponsored workshops depicted hunting scenes that were shared across multiple forms of media. Gereft-o Gir was especially prominent in Safavid carpet design.Ceramicshttp://collection.shangrilahawaii.org/objects/4154/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/19700/fullPolychrome Tile Panel with Double-Vase Motif17th centuryCeramic, polychrome pigmentsThis panel (one of a nearly identical pair) is composed of painted ceramic tiles depicting vases filled with blooming flowers and cypress trees inhabited by colorful birds. On the top of the panel, pairs of waterfowl are surrounded by swirling, Chinese-style clouds. A solitary heron stands by the trunk of a tree in the lower right-hand corner. This lively, colorful tile panel was created using the “black-line technique” (also known as cuerda seca), in which a mixture of oil and manganese was used to outline the designs, preventing the colorful glazes from mixing together. This mixture burned off in the kiln, leaving a sharp, dark outline. Panels such as these clad both religious and secular buildings during the Safavid period (1501–1722 CE) in Iran. This tile panel was purchased in 1938 from a home in New Julfa, the Armenian suburb of the capital of Isfahan where tiles in the Safavid style adorned both the interior of Armenian Christian churches as well as the interiors and exteriors of private residences. Ceramicshttp://collection.shangrilahawaii.org/objects/6026/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/19700/fullPolychrome Tile Panel with Double-Vase Motif17th centuryCeramic, polychrome pigmentsThis panel (one of a nearly identical pair) is composed of painted ceramic tiles depicting vases filled with blooming flowers and cypress trees inhabited by colorful birds. On the top of the panel, pairs of waterfowl are surrounded by swirling, Chinese-style clouds. A solitary heron stands by the trunk of a tree in the lower right-hand corner. This lively, colorful tile panel was created using the “black-line technique” (also known as cuerda seca), in which a mixture of oil and manganese was used to outline the designs, preventing the colorful glazes from mixing together. This mixture burned off in the kiln, leaving a sharp, dark outline. Panels such as these clad both religious and secular buildings during the Safavid period (1501–1722 CE) in Iran. This tile panel was purchased in 1938 from a home in New Julfa, the Armenian suburb of the capital of Isfahan where tiles in the Safavid style adorned both the interior of Armenian Christian churches as well as the interiors and exteriors of private residences. Ceramicshttp://collection.shangrilahawaii.org/objects/6025/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/19700/fullPolychrome Tile Panel with Birds and Leopards17th centuryCeramic, polychrome pigmentsThis panel is composed of ceramic tiles, painted with colorful, animated depictions of the natural world. A central cypress tree is brimming with perched birds and blooming plants. Tigers spring from leafy foliage, and eagles soar among wisps of Chinese-style clouds. Depictions of flora and fauna on yellow, white, or green ground are typical of the Safavid period (1501–1722 CE) when both religious and secular buildings were clad in brightly colored ceramic tile. During the Safavid period, Chinese porcelains were highly valued, and motifs inspired by Ming porcelain, such as stylized cloud bands and more naturalistic floral motifs, appeared in Safavid architectural design.Ceramicshttp://collection.shangrilahawaii.org/objects/6033/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/19700/fullPolychrome Tile Panel with Birds and Leopards17th centuryCeramic, polychrome pigmentsThis panel is composed of ceramic tiles, painted with colorful, animated depictions of the natural world. A central cypress tree is brimming with perched birds and blooming plants. Tigers spring from leafy foliage, and eagles soar among wisps of Chinese-style clouds. Depictions of flora and fauna on yellow, white, or green ground are typical of the Safavid period (1501–1722 CE) when both religious and secular buildings were clad in brightly colored ceramic tile. During the Safavid period, Chinese porcelains were highly valued, and motifs inspired by Ming porcelain, such as stylized cloud bands and more naturalistic floral motifs, appeared in Safavid architectural design.Ceramicshttp://collection.shangrilahawaii.org/objects/6032/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/19700/fullPolychrome Tile Panel with Birds and Garden Motif17th centuryCeramic, polychrome pigmentsThis panel is composed of ceramic tiles depicting lush imagery of flora and fauna set against a yellow background. Songbirds, raptors, and waterfowl surround the central cypress tree, tigers spring from leafy foliage, and flowering plants intertwine. However, a close inspection reveals an incongruous composition: the cypress tree lacks its trunk, and the stems of flowering plants abruptly end at the edges of the tiles. These tiles originated in Iran during the Safavid period (1501–1722 CE). Many of the tiles in Doris Duke's collection (along with many Safavid tiles in collections around the world) originated from the collection of Hagop Kevorkian, an Armenian archaeologist and dealer in antiquities. Following the London Exhibition of 1914, painted tiles from Safavid Iran appeared widely on the international market — some as complete panels and others as individual tiles. This panel was likely assembled from a group of miscellaneous tiles of a similar style to complete an almost harmonious composition. Some of the tiles may have originally formed a composition resembling another set of tile panels in the collection: 48.85.1 and 48.85.2.Ceramicshttp://collection.shangrilahawaii.org/objects/6031/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/19700/fullPolychrome Spandrel-Shaped Tile Panel with Floral and Arabesque Motifs1938-1939Ceramic, polychrome pigmentsThese bright yellow tiles outline the two arches of Shangri La’s courtyard. The tiles are embellished with large floral motifs with delicate green stems and serrated leaves. Although the designs emulate the style of the Safavid dynasty (1501–1722 CE), these tiles were created in the 1930s. Following a trip to Iran, Doris Duke commissioned contemporary craftsmen to create tile panels based on the recently renovated mosque, Masjid-i-Shah in Isfahan Iran. Masjid-i-Shah (the Shah’s mosque) was constructed between 1612 to 1630 CE by the Safavid ruler and patron of the arts, Shah ‘Abbas I. During the Pahlavi rule of Iran in the twentieth century, Safavid buildings were restored — along with the skills and craftsmanship required to carry out the work.Ceramicshttp://collection.shangrilahawaii.org/objects/6018/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/19700/fullPolychrome Spandrel-Shaped Tile Panel with Floral and Arabesque Motifs1938-1939Ceramic, polychrome pigmentsThese bright yellow tiles outline the two arches of Shangri La’s courtyard. The tiles are embellished with large floral motifs with delicate green stems and serrated leaves. Although the designs emulate the style of the Safavid dynasty (1501–1722 CE), these tiles were created in the 1930s. Following a trip to Iran, Doris Duke commissioned contemporary craftsmen to create tile panels based on the recently renovated mosque, Masjid-i-Shah in Isfahan Iran. Masjid-i-Shah (the Shah’s mosque) was constructed between 1612 to 1630 CE by the Safavid ruler and patron of the arts, Shah ‘Abbas I. During the Pahlavi rule of Iran in the twentieth century, Safavid buildings were restored — along with the skills and craftsmanship required to carry out the work.Ceramicshttp://collection.shangrilahawaii.org/objects/6017/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/19700/fullPolychrome Cut-Mosaic Tile Panel (Copy of Masjid-i Shah Panel)1938-1939Ceramic, polychrome pigmentsThis monumental tile mosaic panel is prominently positioned in the Central Courtyard of Shangri La. Swirling, leafy tendrils intertwine across dark blue ground while turquoise cartouches radiate from a large, white medallion. These cartouches are inscribed with verses from the Quran (9:18). On the top center of the panel, a light green square has geometric kufic script reading, مبارك باد — “may it be blessed” in Persian. Teardrop-shaped cartouches in the top right and left read: “bounty is God’s”(نعمة الله) [right] and “might is God’s” (القدرة الله) [left]. This mosaic tile panel was custom-made in 1938–9 by craftsmen in Iran. The panel was based on a pair of panels that flank the entrance portal of Masjid-i Shah (the Shah’s mosque) in Isfahan, Iran. Masjid-i Shah was constructed in 1612 to around 1630 CE by the Safavid ruler and patron of the arts, Shah ‘Abbas I. The interior and exterior of the mosque is completely covered with mosaic tile, the signature style of Safavid architecture. During the twentieth century, Masjid-i Shah and other important buildings of Isfhahan were restored. Creating a tile mosaic is an intricate process. Monochrome-glazed tile slabs are first fired and then cut into small pieces. The pieces are fitted together upside-down, and plaster is poured over them to form a solid, secure backing. The recreated panel is very similar to the original with a few differences; two feet of the lower edge of the panels are missing, and there are slight color variations in the glazes.Ceramicshttp://collection.shangrilahawaii.org/objects/4162/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/19700/fullReplica of Plaster and Polychrome Glass Window with Floral Vase Motif20th centuryColored glass, plasterThe eight brightly colored stained glass windows lining the upper walls of the courtyard are replicas of an original Ottoman window located in the foyer of Shangri La. This type of window, called a qamariya in Arabic, was created in Syria, Egypt, or Turkey during the rule of the Ottoman empire. The design of a vase overflowing with blue tulips, red carnations, and yellow peonies was a typical Ottoman motif. The vase sits within an arched niche lined with two smaller vases and floral designs connected by intertwining stems.Glasshttp://collection.shangrilahawaii.org/objects/6040/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/19700/fullReplica of Plaster and Polychrome Glass Window with Floral Vase Motif20th centuryColored glass, plasterThe eight brightly colored stained glass windows lining the upper walls of the courtyard are replicas of an original Ottoman window located in the foyer of Shangri La. This type of window, called a qamariya in Arabic, was created in Syria, Egypt, or Turkey during the rule of the Ottoman empire. The design of a vase overflowing with blue tulips, red carnations, and yellow peonies was a typical Ottoman motif. The vase sits within an arched niche lined with two smaller vases and floral designs connected by intertwining stems.Glasshttp://collection.shangrilahawaii.org/objects/6039/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/19700/fullReplica of Plaster and Polychrome Glass Window with Floral Vase Motif20th centuryColored glass, plasterThe eight brightly colored stained glass windows lining the upper walls of the courtyard are replicas of an original Ottoman window located in the foyer of Shangri La. This type of window, called a qamariya in Arabic, was created in Syria, Egypt, or Turkey during the rule of the Ottoman empire. The design of a vase overflowing with blue tulips, red carnations, and yellow peonies was a typical Ottoman motif. The vase sits within an arched niche lined with two smaller vases and floral designs connected by intertwining stems.Glasshttp://collection.shangrilahawaii.org/objects/6038/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/19700/fullReplica of Plaster and Polychrome Glass Window with Floral Vase Motif20th centuryColored glass, plasterThe eight brightly colored stained glass windows lining the upper walls of the courtyard are replicas of an original Ottoman window located in the foyer of Shangri La. This type of window, called a qamariya in Arabic, was created in Syria, Egypt, or Turkey during the rule of the Ottoman empire. The design of a vase overflowing with blue tulips, red carnations, and yellow peonies was a typical Ottoman motif. The vase sits within an arched niche lined with two smaller vases and floral designs connected by intertwining stems.Glasshttp://collection.shangrilahawaii.org/objects/6037/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/19700/fullReplica of Plaster and Polychrome Glass Window with Floral Vase Motif20th centuryColored glass, plasterThe eight brightly colored stained glass windows lining the upper walls of the courtyard are replicas of an original Ottoman window located in the foyer of Shangri La. This type of window, called a qamariya in Arabic, was created in Syria, Egypt, or Turkey during the rule of the Ottoman empire. The design of a vase overflowing with blue tulips, red carnations, and yellow peonies was a typical Ottoman motif. The vase sits within an arched niche lined with two smaller vases and floral designs connected by intertwining stems.Glasshttp://collection.shangrilahawaii.org/objects/6036/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/19700/fullReplica of Plaster and Polychrome Glass Window with Floral Vase Motif20th centuryColored glass, plasterThe eight brightly colored stained glass windows lining the upper walls of the courtyard are replicas of an original Ottoman window located in the foyer of Shangri La. This type of window, called a qamariya in Arabic, was created in Syria, Egypt, or Turkey during the rule of the Ottoman empire. The design of a vase overflowing with blue tulips, red carnations, and yellow peonies was a typical Ottoman motif. The vase sits within an arched niche lined with two smaller vases and floral designs connected by intertwining stems.Glasshttp://collection.shangrilahawaii.org/objects/6035/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/19700/fullReplica of Plaster and Polychrome Glass Window with Floral Vase Motif20th centuryColored glass, plasterThe eight brightly colored stained glass windows lining the upper walls of the courtyard are replicas of an original Ottoman window located in the foyer of Shangri La. This type of window, called a qamariya in Arabic, was created in Syria, Egypt, or Turkey during the rule of the Ottoman empire. The design of a vase overflowing with blue tulips, red carnations, and yellow peonies was a typical Ottoman motif. The vase sits within an arched niche lined with two smaller vases and floral designs connected by intertwining stems.Glasshttp://collection.shangrilahawaii.org/objects/6034/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/19700/fullReplica of Plaster and Polychrome Glass Window with Floral Vase Motif20th centuryColored glass, plasterThe eight brightly colored stained glass windows lining the upper walls of the courtyard are replicas of an original Ottoman window located in the foyer of Shangri La. This type of window, called a qamariya in Arabic, was created in Syria, Egypt, or Turkey during the rule of the Ottoman empire. The design of a vase overflowing with blue tulips, red carnations, and yellow peonies was a typical Ottoman motif. The vase sits within an arched niche lined with two smaller vases and floral designs connected by intertwining stems.Glasshttp://collection.shangrilahawaii.org/objects/4153/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/19700/fullHanging Ceiling Lamp with Punched Floral Motifs20th centuryCopper alloyThis hanging lamp (one of six) illuminates the central courtyard at Shangri La. The lamp was custom-made for Shangri La by P. M. Allah Buksh & Son, a company that has operated in Jaipur, India since the 1880s. The design was inspired by existing nineteenth-century lamps in the collection from Qajar-era Iran. Registers of geometric design adorn the bulbous neck, belly, and inverted dome of the vessel. All the surfaces are incised with elaborate floral motifs, filtering the light of the custom frosted Mylar light diffusers within.Metalworkhttp://collection.shangrilahawaii.org/objects/7966/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/19700/fullHanging Ceiling Lamp with Punched Floral Motifs20th centuryCopper alloyThis hanging lamp (one of six) illuminates the central courtyard at Shangri La. The lamp was custom-made for Shangri La by P. M. Allah Buksh & Son, a company that has operated in Jaipur, India since the 1880s. The design was inspired by existing nineteenth-century lamps in the collection from Qajar-era Iran. Registers of geometric design adorn the bulbous neck, belly, and inverted dome of the vessel. All the surfaces are incised with elaborate floral motifs, filtering the light of the custom frosted Mylar light diffusers within.Metalworkhttp://collection.shangrilahawaii.org/objects/7965/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/19700/fullHanging Ceiling Lamp with Punched Floral Motifs20th centuryCopper alloyThis hanging lamp (one of six) illuminates the central courtyard at Shangri La. The lamp was custom-made for Shangri La by P. M. Allah Buksh & Son, a company that has operated in Jaipur, India since the 1880s. The design was inspired by existing nineteenth-century lamps in the collection from Qajar-era Iran. Registers of geometric design adorn the bulbous neck, belly, and inverted dome of the vessel. All the surfaces are incised with elaborate floral motifs, filtering the light of the custom frosted Mylar light diffusers within.Metalworkhttp://collection.shangrilahawaii.org/objects/5391/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/19700/fullTile Mosaic Window Grill with Floral Motifs1938-1939Stonepaste, polychrome pigmentsThis mosaic tile panel (one of four) is adorned with a turquoise lattice design resembling a jali, or window grill. Blossoms embellish the turquoise ground and border of scrolling vines. This panel was custom-made for Shangri La in a workshop in Isfahan, Iran during the 1930s. The panel is based on prototypes from Masjid-i Shah, a monumental mosque located along the maidan, or main square, of Isfahan, Iran. A 1939 photograph in the Shangri La archives shows Iranian craftsmen working on the ceramic grill panels. Once complete, the panels were positioned face down so that the craftsmen could apply a plaster backing to affix the pieces of ceramic tile into place.Ceramicshttp://collection.shangrilahawaii.org/objects/6107/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/19700/fullTile Mosaic Window Grill with Floral Motifs1938-1939Stonepaste, polychrome pigmentsThis mosaic tile panel (one of four) is adorned with a turquoise lattice design resembling a jali, or window grill. Blossoms embellish the turquoise ground and border of scrolling vines. This panel was custom-made for Shangri La in a workshop in Isfahan, Iran during the 1930s. The panel is based on prototypes from Masjid-i Shah, a monumental mosque located along the maidan, or main square, of Isfahan, Iran. A 1939 photograph in the Shangri La archives shows Iranian craftsmen working on the ceramic grill panels. Once complete, the panels were positioned face down so that the craftsmen could apply a plaster backing to affix the pieces of ceramic tile into place.Ceramicshttp://collection.shangrilahawaii.org/objects/6106/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/19700/fullPolychrome Spandrel-Shaped Tile Panel with Floral and Arabesque Motifs1938-1939Stonepaste, polychrome pigmentsThese tile spandrels outline the arches of the central courtyard of Shangri La. With delicate floral patterns over blue and yellow ground, these tiles emulate the style of the Safavid period (1501–1722 CE) when buildings of its capitol city, Isfahan, were clad in brightly colorful tile. However, these tiles were created in the 1930s. When Doris Duke visited Iran in 1938, the country was experiencing a resurgence of interest in ancient and Iranian art, following important archaeological discoveries. Many of Iran’s famous buildings and monuments had been recently restored including Masjid-i Shah, which was constructed during the reign of the fifth Safavid ruler, Shah Abbas I, between 1612 to 1630 CE. The exquisite ceramics from this mosque became the design prototype for several commissioned tiles at Shangri La. The lively, colorful designs were created using the black-line technique (also known as cuerda seca). Each tile was coated with a white, opaque glaze before firing. Artists transferred a premade design onto the tiles by pricking holes through a preparatory drawing, placing the drawing over the ceramic surface, and dusting charcoal through the holes to create an outline of the design. To achieve a symmetrical composition, the drawing was turned over and transferred onto the opposite spandrel. A master artist traced the design with a substance of oil and manganese to keep the colorful glazes from running together. During the firing process this substance burned off, leaving a sharp, dark line.Ceramicshttp://collection.shangrilahawaii.org/objects/6020/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/19700/fullPolychrome Spandrel-Shaped Tile Panel with Floral and Arabesque Motifs1938-1939Stonepaste, polychrome pigmentsThese tile spandrels outline the arches of the central courtyard of Shangri La. With delicate floral patterns over blue and yellow ground, these tiles emulate the style of the Safavid period (1501–1722 CE) when buildings of its capitol city, Isfahan, were clad in brightly colorful tile. However, these tiles were created in the 1930s. When Doris Duke visited Iran in 1938, the country was experiencing a resurgence of interest in ancient and Iranian art, following important archaeological discoveries. Many of Iran’s famous buildings and monuments had been recently restored including Masjid-i Shah, which was constructed during the reign of the fifth Safavid ruler, Shah Abbas I, between 1612 to 1630 CE. The exquisite ceramics from this mosque became the design prototype for several commissioned tiles at Shangri La. The lively, colorful designs were created using the black-line technique (also known as cuerda seca). Each tile was coated with a white, opaque glaze before firing. Artists transferred a premade design onto the tiles by pricking holes through a preparatory drawing, placing the drawing over the ceramic surface, and dusting charcoal through the holes to create an outline of the design. To achieve a symmetrical composition, the drawing was turned over and transferred onto the opposite spandrel. A master artist traced the design with a substance of oil and manganese to keep the colorful glazes from running together. During the firing process this substance burned off, leaving a sharp, dark line.Ceramicshttp://collection.shangrilahawaii.org/objects/6019/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/19700/fullPolychrome Border Tiles with Flowering Vine Motif1938-1939Stonepaste, polychrome pigmentsScrolling, leafy vines border the doors and archways of the central courtyard at Shangri La. This design, commonly called “the arabesque,” is composed of s-shaped tendrils and fan-like leaves. A ubiquitous motif throughout the Islamic world, the arabesque originated from Byzantine and Sasanian designs and gradually developed into a symmetrical, geometric design of abstract leafy scrolls. This tile border, created by craftsmen in Iran during the 1930s, was designed to emulate the artistic style of seventeenth-century Iran. The floral patterns, called khata’i in Persian, incorporate Chinese-inspired lotus scrolls.Ceramicshttp://collection.shangrilahawaii.org/objects/6098/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/19700/fullPolychrome Border Tiles with Flowering Vine Motif1938-1939Stonepaste, polychrome pigmentsScrolling, leafy vines border the doors and archways of the central courtyard at Shangri La. This design, commonly called “the arabesque,” is composed of s-shaped tendrils and fan-like leaves. A ubiquitous motif throughout the Islamic world, the arabesque originated from Byzantine and Sasanian designs and gradually developed into a symmetrical, geometric design of abstract leafy scrolls. This tile border, created by craftsmen in Iran during the 1930s, was designed to emulate the artistic style of seventeenth-century Iran. The floral patterns, called khata’i in Persian, incorporate Chinese-inspired lotus scrolls.Ceramicshttp://collection.shangrilahawaii.org/objects/6097/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/19700/fullPolychrome Border Tiles with Floral Motifs1938-1939Stonepaste, polychrome pigmentsThis ceramic tile border of scrolling, leafy vines lines the windows of the Central Courtyard of Shangri La. The scrolling vine motif, commonly referred to as the “arabesque,” appears on all surfaces of Islamic art — from delicate manuscript painting to monumental architectural design. Created in Iran during the 1930s, this multi-colored ceramic tile border emulates the ceramic tiles of seventeenth-century Iran during the Safavid period, when secular and religious buildings were clad in colorful tile. During this period, more naturalistic flower motifs emerged within the conventional arabesque design.Ceramicshttp://collection.shangrilahawaii.org/objects/7364/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/19700/fullPolychrome Border Tiles with Floral Motifs1938-1939Stonepaste, polychrome pigmentsThis ceramic tile border of scrolling, leafy vines lines the windows of the Central Courtyard of Shangri La. The scrolling vine motif, commonly referred to as the “arabesque,” appears on all surfaces of Islamic art — from delicate manuscript painting to monumental architectural design. Created in Iran during the 1930s, this multi-colored ceramic tile border emulates the ceramic tiles of seventeenth-century Iran during the Safavid period, when secular and religious buildings were clad in colorful tile. During this period, more naturalistic flower motifs emerged within the conventional arabesque design.Ceramicshttp://collection.shangrilahawaii.org/objects/7363/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/19700/fullPolychrome Border Tiles with Floral Motifs1938-1939Stonepaste, polychrome pigmentsThis ceramic tile border of scrolling, leafy vines lines the windows of the Central Courtyard of Shangri La. The scrolling vine motif, commonly referred to as the “arabesque,” appears on all surfaces of Islamic art — from delicate manuscript painting to monumental architectural design. Created in Iran during the 1930s, this multi-colored ceramic tile border emulates the ceramic tiles of seventeenth-century Iran during the Safavid period, when secular and religious buildings were clad in colorful tile. During this period, more naturalistic flower motifs emerged within the conventional arabesque design.Ceramicshttp://collection.shangrilahawaii.org/objects/7362/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/19700/fullPolychrome Border Tiles with Floral Motifs1938-1939Stonepaste, polychrome pigmentsThis ceramic tile border of scrolling, leafy vines lines the windows of the Central Courtyard of Shangri La. The scrolling vine motif, commonly referred to as the “arabesque,” appears on all surfaces of Islamic art — from delicate manuscript painting to monumental architectural design. Created in Iran during the 1930s, this multi-colored ceramic tile border emulates the ceramic tiles of seventeenth-century Iran during the Safavid period, when secular and religious buildings were clad in colorful tile. During this period, more naturalistic flower motifs emerged within the conventional arabesque design.Ceramicshttp://collection.shangrilahawaii.org/objects/7361/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/19700/fullPolychrome Border Tiles with Floral Motifs1938-1939Stonepaste, polychrome pigmentsThis ceramic tile border of scrolling, leafy vines lines the windows of the Central Courtyard of Shangri La. The scrolling vine motif, commonly referred to as the “arabesque,” appears on all surfaces of Islamic art — from delicate manuscript painting to monumental architectural design. Created in Iran during the 1930s, this multi-colored ceramic tile border emulates the ceramic tiles of seventeenth-century Iran during the Safavid period, when secular and religious buildings were clad in colorful tile. During this period, more naturalistic flower motifs emerged within the conventional arabesque design.Ceramicshttp://collection.shangrilahawaii.org/objects/7360/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/19700/fullPolychrome Border Tiles with Floral Motifs1938-1939Stonepaste, polychrome pigmentsThis ceramic tile border of scrolling, leafy vines lines the windows of the Central Courtyard of Shangri La. The scrolling vine motif, commonly referred to as the “arabesque,” appears on all surfaces of Islamic art — from delicate manuscript painting to monumental architectural design. Created in Iran during the 1930s, this multi-colored ceramic tile border emulates the ceramic tiles of seventeenth-century Iran during the Safavid period, when secular and religious buildings were clad in colorful tile. During this period, more naturalistic flower motifs emerged within the conventional arabesque design.Ceramicshttp://collection.shangrilahawaii.org/objects/7344/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/19700/fullPolychrome Border Tiles with Floral Motifs1938-1939Stonepaste, polychrome pigmentsThis ceramic tile border of scrolling, leafy vines lines the windows of the Central Courtyard of Shangri La. The scrolling vine motif, commonly referred to as the “arabesque,” appears on all surfaces of Islamic art — from delicate manuscript painting to monumental architectural design. Created in Iran during the 1930s, this multi-colored ceramic tile border emulates the ceramic tiles of seventeenth-century Iran during the Safavid period, when secular and religious buildings were clad in colorful tile. During this period, more naturalistic flower motifs emerged within the conventional arabesque design.Ceramicshttp://collection.shangrilahawaii.org/objects/7343/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/19700/fullPolychrome Border Tiles with Floral Motifs1938-1939Stonepaste, polychrome pigmentsThis ceramic tile border of scrolling, leafy vines lines the windows of the Central Courtyard of Shangri La. The scrolling vine motif, commonly referred to as the “arabesque,” appears on all surfaces of Islamic art — from delicate manuscript painting to monumental architectural design. Created in Iran during the 1930s, this multi-colored ceramic tile border emulates the ceramic tiles of seventeenth-century Iran during the Safavid period, when secular and religious buildings were clad in colorful tile. During this period, more naturalistic flower motifs emerged within the conventional arabesque design.Ceramicshttp://collection.shangrilahawaii.org/objects/7342/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/19700/fullPolychrome Border Tiles with Floral Motifs1938-1939Stonepaste, polychrome pigmentsThis ceramic tile border of scrolling, leafy vines lines the windows of the Central Courtyard of Shangri La. The scrolling vine motif, commonly referred to as the “arabesque,” appears on all surfaces of Islamic art — from delicate manuscript painting to monumental architectural design. Created in Iran during the 1930s, this multi-colored ceramic tile border emulates the ceramic tiles of seventeenth-century Iran during the Safavid period, when secular and religious buildings were clad in colorful tile. During this period, more naturalistic flower motifs emerged within the conventional arabesque design.Ceramicshttp://collection.shangrilahawaii.org/objects/6096/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/19700/fullPolychrome Border Tiles with Floral Motifs1938-1939Stonepaste, polychrome pigmentsThis ceramic tile border of scrolling, leafy vines lines the windows of the Central Courtyard of Shangri La. The scrolling vine motif, commonly referred to as the “arabesque,” appears on all surfaces of Islamic art — from delicate manuscript painting to monumental architectural design. Created in Iran during the 1930s, this multi-colored ceramic tile border emulates the ceramic tiles of seventeenth-century Iran during the Safavid period, when secular and religious buildings were clad in colorful tile. During this period, more naturalistic flower motifs emerged within the conventional arabesque design.Ceramicshttp://collection.shangrilahawaii.org/objects/4160/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/19700/fullCobalt Blue and Turquoise Glazed Tile Panel with Molded and Bossed Decoration13th centuryStonepaste, polychrome pigmentsThis panel is composed of thirteenth-century ceramic tiles, cut to fit the stairway leading into the Central Courtyard of Shangri La. The tiles are arranged in an intricate geometric pattern composed of eight-pointed stars, punctuated by molded, glazed bosses. Although the central panel and the two stepped side panels differ visually, an identical geometric, mosaic-like pattern is present in each, creating overall harmony. The central, square-shaped panel is composed of molded, turquoise and cobalt blue tiles with floral elements, defined by bands of unglazed ceramic tile that form the intricate, interlacing “strapwork” pattern. The side panels are primarily composed of unglazed tile, with the turquoise and cobalt glazes applied in moderation. These tiles were likely acquired through Benjamin Mahboubian whose surname appears on the receipt for the purchase of the tiles in 1938. The uncle of Duke’s close contact, Iranian art dealer Ayoub Rabenou, Mahboubian was an Iranian archaeologist who conducted many commercial excavations throughout Iran during the 1920s and 1930s. These tiles are said to be from a site called “Seveh” (perhaps Saveh), where Mahboubian was known to have conducted commercial excavations. Similar architectural elements from his excavations are now at the Reza Abbasi Museum in Tehran. The tile panels are similar to those excavated at Takht-i Sulayman (Persian for “Throne of Solomon''), the site of a royal summer palace located in the Azerbaijan province of north-western Iran. The palace was constructed by the second ruler of the Ilkhanid empire, Abaqa Khan around 1275 CE. The tiles that decorated the exterior walls of Takht-i Sulayman included geometric designs created from a combination of unglazed and robust underglazed tiles. Tiles from Takht-i Sulayman that are similar to those in DDFIA collection are housed at the Museum für Islamische Kunst in Berlin, who conducted the excavations at the site over a number of years.Ceramicshttp://collection.shangrilahawaii.org/objects/4147/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/19700/fullCarved Wooden Screen (Jali)1937Wood, metal hardwareThis pierced wooden screen separates the foyer and central courtyard. Called a mashrabiyya in Arabic or jali in Persian, this architectural element appears throughout the Islamic world. Not only decorative, this type of screen filters light and cool air into the home while granting privacy to its inhabitants. The screen was custom-made for Shangri La by Moroccan artisans in the 1930s. Following a trip to Morocco in 1937, Doris Duke and her then husband James Cromwell commissioned the screen, along with other plaster and wooden architectural elements, from the architecture and design firm, S.A.L.A.M. René Martin of Rabat, Morocco. The design of the screen deviates from typical Moroccan mashrabiyya, which are composed of pieces of turned wood arranged in lattice patterns (see the balustrade in the Foyer). Instead, this screen was created from a thick piece of wood pierced throughout with geometric shapes, creating a similar lighting effect as the mashrabiyaa found throughout North Africa and the Middle East.Woodworkhttp://collection.shangrilahawaii.org/objects/6104/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/19700/fullCarved Wooden Columns with Mirrored Insets (Set of 12)20th centuryWood, pigments, mirrorsThe Central Courtyard is partially shaded by a canopy supported by 12 columns. The tall, narrow columns and capitals embellished with muqarnas ornamentation emulate the style of courtly architecture of seventeenth-century Iran. The columns were manufactured in Chicago, following Doris Duke’s specifications. Mirrored insets, which catch the light, were applied in Hawaiʻi. The design of column capitals and wooden awning was inspired by the talar, or veranda, of the Ālī Qāpū palace in Isfahan, Iran. Ālī Qāpū (meaning “Highest Gate” in Persian) was the imperial palace of the shahs, or rulers of the Safavid dynasty. Located along the maidan, or main square, of Isfahan, the talar was the setting for the shah and his family to observe important public events, such as parades or polo matches.Woodworkhttp://collection.shangrilahawaii.org/objects/6103/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/19700/fullHanging Ceiling Lamp with Punched Floral Motifs20th centuryCopper alloyThis hanging lamp (one of six) illuminates the central courtyard at Shangri La. The lamp was custom-made for Shangri La by P. M. Allah Buksh & Son, a company that has operated in Jaipur, India since the 1880s. The design was inspired by existing nineteenth-century lamps in the collection from Qajar-era Iran. Registers of geometric design adorn the bulbous neck, belly, and inverted dome of the vessel. All the surfaces are incised with elaborate floral motifs, filtering the light of the custom frosted Mylar light diffusers within.Metalworkhttp://collection.shangrilahawaii.org/objects/6109/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/19700/fullHanging Ceiling Lamp with Punched Floral Motifs20th centuryCopper alloyThis hanging lamp (one of six) illuminates the central courtyard at Shangri La. The lamp was custom-made for Shangri La by P. M. Allah Buksh & Son, a company that has operated in Jaipur, India since the 1880s. The design was inspired by existing nineteenth-century lamps in the collection from Qajar-era Iran. Registers of geometric design adorn the bulbous neck, belly, and inverted dome of the vessel. All the surfaces are incised with elaborate floral motifs, filtering the light of the custom frosted Mylar light diffusers within.Metalworkhttp://collection.shangrilahawaii.org/objects/6110/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/19700/fullHanging Ceiling Lamp with Punched Floral MotifsCopper alloy.This hanging lamp (one of six) illuminates the central courtyard at Shangri La. The lamp was custom-made for Shangri La by P. M. Allah Buksh & Son, a company that has operated in Jaipur, India since the 1880s. The design was inspired by existing nineteenth-century lamps in the collection from Qajar-era Iran. Registers of geometric design adorn the bulbous neck, belly, and inverted dome of the vessel. All the surfaces are incised with elaborate floral motifs, filtering the light of the custom frosted Mylar light diffusers within.Metalworkhttp://collection.shangrilahawaii.org/objects/7967/rdf