http://collection.shangrilahawaii.org/internal/media/dispatcher/58287/fullAcrobat2004Maja ClarkPaper, inkPrintshttp://collection.shangrilahawaii.org/objects/9181/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/58983/full“A Feast”1520Gouache painting, gold, and ink on paperIn this carefully composed illustration, Manouchehr, one of the Shahnameh’s mythical kings, is seen at a feast after his enthronement. His role in the epic - as a powerful, just ruler - is conveyed through his slightly larger figure, and the generous use of expensive gold leaf and lapis lazuli. Three figures on the sides break the outline, extending the content beyond the pictorial frame. A notable quality of Persian paintings, this “breakage” also demonstrates the unique process of book-making in which the figures are painted only after a detailed grid is drawn and the text is written. Note the careful composition of this painting. The outline would have been drawn first, with sections reserved for the calligrapher. The architectural elements would have been painted first, then the figures, and finally the faces - each by a different artist. The final touch was the work of the calligrapher.Paintingshttp://collection.shangrilahawaii.org/objects/5931/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/44170/full"A Female Courtier and Her Attendants" from a Ragamala: Raga Malkauns seriesc. 1750Paper, opaque watercolor, goldRagamala is a Sanskrit term meaning "garland of ragas [melodies]”. Celebrating these musical performances was a popular motif of court paintings in Rajasthan in the 18th-19th centuries. Depicted is a reclining noblewoman, surrounded by musicians and attendants, including a woman preparing food. It is an intersection of sound, sight, and taste - as well as scent, indicated by the flowering chahar bagh garden. This loose-leaf folio would have been part of a set, celebrating the seasons, and stored in a special box for safekeeping.Paintingshttp://collection.shangrilahawaii.org/objects/3911/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/57232/full“A King and his Attendants”1520Gouache painting, gold, and ink on paperThe central theme of the enthroned king is a key aspect of the princely cycle; the sovereign is, quite literally, the sun orbited by his court. Notice his placement on a high wooden takht (throne), with the lapis-painted tile panel behind him framing his head and emphasizing his importance.Paintingshttp://collection.shangrilahawaii.org/objects/4796/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/57226/full“An Enthroned King in a Landscape”1520Gouache painting, gold, and ink on paperThe natural setting of a garden landscape varies little from the interior image. The king is still enthroned on his wooden takht and surrounded by courtiers eager to advise, serve, or be seen by him. This composition emphasizes the power held by the sovereign over all he surveys.Paintingshttp://collection.shangrilahawaii.org/objects/5932/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/41624/fullAqua Blown-Glass Ewer with Applied Decoration19th century GlassGlasshttp://collection.shangrilahawaii.org/objects/3738/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/41623/fullAqua Blown-Glass Ewer with Applied Decoration19th century Colored glassThis aqua-colored glass ewer, called an āftāba, has a globular body with a deep indent or “kick” on the base, a flared, cylindrical neck and an applied spout and handle. The glass is spotted with small bubbles (tiny pockets of trapped gas), likely caused by irregularities in production. This ewer was created in Iran in the 1800s. During this period, glassware was produced primarily for commercial purposes and trade. Recycled glass, called “cullet,” created from discarded glass vessels and glass lumps, was also traded to be melted down as an inexpensive means of creating new glass. Glasshttp://collection.shangrilahawaii.org/objects/5278/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/50343/fullAqua Blown-Glass Hammam Ceiling Lamps18th - 19th centuryColored glassThis thick glass lamp, called a “hammam lamp” is designed to be recessed into a dome. Hammams, or public bathhouses, were ubiquitous in cities under Islamic rule, not only a source of hygiene, but also social gathering places. Concial lamps such as this would have been set into the domed ceilings of the hot, windowless rooms of a hammam. Despite the name used to identify this type of lamp, these lamps were also found in other types of domed buildings. The architecture of hammams evolved from the tradition of Roman baths and adapted to meet the Islamic religious requirements for washing. These lamps were created in Damascus while the city was under the rule of the Ottoman dynasty. Hammams in Ottoman Damascus typically consisted of a simple hot room with adjacent chambers.Glasshttp://collection.shangrilahawaii.org/objects/3645/rdfAqua Blown-Glass Hanging Lamp20th centuryColored glass, metal hardwareThis aqua blown-glass 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/3750/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/58301/fullArmorial Lusterware Dish with Floral and Animal Motifs16th centuryEarthenware, polychrome pigments, lusterCeramicshttp://collection.shangrilahawaii.org/objects/4235/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/58305/fullArmorial Lusterware Dish with Floral and Animal Motifsc. 1500Earthenware, polychrome pigments, lusterCeramicshttp://collection.shangrilahawaii.org/objects/4239/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/20024/fullBell Shaped Bidri Ware Hookah (Water Pipe) Base Inlaid with Landscape Scenes19th centuryZinc, silverMetalworkhttp://collection.shangrilahawaii.org/objects/4057/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/20092/fullBell-Shaped Silver Covered Dish with Beaded Border20th centurySilverMetalworkhttp://collection.shangrilahawaii.org/objects/6571/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/17855/fullBlock-Printed Cotton Curtain with Archway and Palm Tree Motifs1938Cotton, polychrome pigmentsTextileshttp://collection.shangrilahawaii.org/objects/7278/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/17855/fullBlock-Printed Cotton Curtain with Archway and Palm Tree Motifs1938Cotton, polychrome pigmentsTextileshttp://collection.shangrilahawaii.org/objects/7279/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/17855/fullBlock-Printed Cotton Curtain with Archway and Palm Tree Motifs1938Cotton, polychrome pigmentsTextileshttp://collection.shangrilahawaii.org/objects/7280/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/17855/fullBlock-Printed Cotton Curtain with Archway and Palm Tree Motifs1938Cotton, polychrome pigmentsTextileshttp://collection.shangrilahawaii.org/objects/7281/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/58096/fullBlown Double-Sided Glass Unguentarium with Trailed Decoration2nd centuryColored glassGlasshttp://collection.shangrilahawaii.org/objects/3914/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/58097/fullBlown Glass Amphora with Applied Handles2nd centuryColored glassGlasshttp://collection.shangrilahawaii.org/objects/3923/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/58122/fullBlown Glass Beaker2nd centuryColored glassGlasshttp://collection.shangrilahawaii.org/objects/5522/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/58089/fullBlown Glass Beaker with Enamelled Decoration13th centuryEnameled glassGlasshttp://collection.shangrilahawaii.org/objects/3918/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/19274/fullBlown Glass Bottle with Flared Rim2nd-3rd centuryColored glassGlasshttp://collection.shangrilahawaii.org/objects/3922/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/58125/fullBlown Glass Bottle with Flared Rim2nd centuryColored glassGlasshttp://collection.shangrilahawaii.org/objects/3924/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/19368/fullBlown Glass Bottle with Flared Rim2nd centuryColored glassGlasshttp://collection.shangrilahawaii.org/objects/3928/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/58098/fullBlown Glass Bottle with Pinched Neck3rd-4th centuryColored glassGlasshttp://collection.shangrilahawaii.org/objects/3920/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/58087/fullBlown Glass Bottle with Pinched Neck4th centuryColored glassGlasshttp://collection.shangrilahawaii.org/objects/3947/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/58086/fullBlown Glass Bottle with Pinched Neck4th centuryColored glassGlasshttp://collection.shangrilahawaii.org/objects/5525/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/58084/fullBlown Glass Bottle with Trailed Decoration3rd centuryColored glassGlasshttp://collection.shangrilahawaii.org/objects/3939/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/58094/fullBlown Glass Bottle with Trailed Decoration2nd centuryColored glassGlasshttp://collection.shangrilahawaii.org/objects/5520/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/58088/fullBlown Glass Bowl with Pinched Flared Rim2nd centuryColored glassGlasshttp://collection.shangrilahawaii.org/objects/3925/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/19271/fullBlown Glass Flared Beaker13th centuryColored glassGlasshttp://collection.shangrilahawaii.org/objects/3943/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/58095/fullBlown Glass Flask with Flared Rim2nd centuryColored glassGlasshttp://collection.shangrilahawaii.org/objects/5521/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/58108/fullBlown Glass Hemispherical Bowl2nd centuryColored glassGlasshttp://collection.shangrilahawaii.org/objects/3931/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/58099/fullBlown Glass Hemispherical Bowl2nd - 3rd centuryColored glassGlasshttp://collection.shangrilahawaii.org/objects/3936/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/17084/fullBlown Glass Jar with Trailed Zigzag Decoration7th - 8th centuryGlassThis transparent green globular jar, characterized by its rounded rim, short concave neck, and tapering bulbous body, features a horizontal zigzag trail forming a ‘collar’ that elegantly connects the rim to the vessel’s shoulder. The jar exemplifies the transitional phase between two pivotal glassmaking traditions, the Roman and the Islamic, within the Mediterranean coastal region. Glassblowing, a revolutionary technique, first emerged in workshops along the Syro-Palestinian coast in the mid-1st century BCE, as evidenced by archaeological findings in Jerusalem. Early glassblowing involved partially inflating softened glass tubes using short clay pipes. These workshops that produced glass vessels for the late Roman and Byzantine communities adapted to serve the evolving tastes of new Muslim patrons. While stylistic nuances and functional demands shifted, early Islamic glass often retained Roman forms, blurring distinctions between these traditions. Trade networks across Western Asia further facilitated the diffusion and integration of styles. This jar bears a striking resemblance to artifacts like the 4th-century CE Roman jar in the Metropolitan Museum of Art (Object Number: 81.10.174). However, without a definitive archaeological context, its provenance and site of manufacture remain speculative. This underscores the challenges of attributing early glass artifacts to specific cultural or geographic origins, reflecting the interconnectedness and fluidity of ancient glassmaking traditions. Glasshttp://collection.shangrilahawaii.org/objects/3929/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/58083/fullBlown Glass Lidded Jar with Trailed Decoration19th centuryColored glassThis blown glass jar is embellished by vertical ribs twisting along its surface and lid. Known as “trailed decoration,” this detail is created by the craftsman trailing glass thread along the surface of the vessel. This simple, lidded jar was produced in Iran in the 19th century during the rule of the Qajar dynasty. Glass from this period is characteristically monochromatic with simple, graceful designs.Glasshttp://collection.shangrilahawaii.org/objects/3933/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/19273/fullBlown Glass Spherical Bottle with Incised Decoration2nd-3rd centuryColored glassGlasshttp://collection.shangrilahawaii.org/objects/5519/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/17606/fullBlown Pale Blue Glass Bottle with Spherical Body12th centuryGlassGlasshttp://collection.shangrilahawaii.org/objects/3934/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/57820/fullBlue-and-Black Glazed Dish with Arabesque Motifs13th centuryStonepaste, polychrome pigmentsCeramicshttp://collection.shangrilahawaii.org/objects/4476/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/57817/fullBlue-and-Black Glazed Dish with Rosette Motif14th centuryStonepaste, polychrome pigmentsCeramicshttp://collection.shangrilahawaii.org/objects/4469/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/57813/fullBlue-and-Black Striped Jug13th CenturyStonepaste, polychrome pigmentsCeramicshttp://collection.shangrilahawaii.org/objects/4383/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/58321/fullBlue and White Ceramic Dish with Floral Motifs16th centuryStonepaste, pigmentsOttoman ceramic design, known as Iznik ware after the city in which it was produced, was heavily influenced by Chinese blue-and-white porcelain. With delicate, blue peonies swimming in interlacing stems, the design of this Ottoman dish mimics the characteristic of Ming porcelain during the Yongle period of the early 1400s. This type of porcelain is characterized by intricately sculpted flowers with jagged-edged leaves.Ceramicshttp://collection.shangrilahawaii.org/objects/3724/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/17899/fullBlue and White Ware Dish with Floral and Deer Motifs17th centuryStonepaste, pigmentsCeramicshttp://collection.shangrilahawaii.org/objects/3617/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/42259/fullBlue Blown-Glass Rosewater Sprinkler with Applied Decoration12th centuryGlass, cobalt pigmentGlasshttp://collection.shangrilahawaii.org/objects/3945/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/41331/fullBlue Blown-Glass Vase19th centuryColored glassGlasshttp://collection.shangrilahawaii.org/objects/3694/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/41652/fullBlue Glazed Lusterware Bowl with Cypress Tree and Vegetal Motifs17th centuryStonepaste, monochrome glaze, lusterCeramicshttp://collection.shangrilahawaii.org/objects/4473/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/58432/fullBlue Hanging Lamp with Faceted Glass Insets19th - 20th centuryColored glass, glass beads, metal hardwareGlasshttp://collection.shangrilahawaii.org/objects/5957/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/58275/fullBlue-La-La2004Lisa Louise AdamsPaper, inkPrintshttp://collection.shangrilahawaii.org/objects/9177/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/17945/fullBronze and Polychrome Glass Hanging Lamp19th - 20th centuryCopper alloy, glassThis magnificent hanging lamp illuminates the Ottoman gallery with multicolored light filtered through decorative perforations and lobed openings filled with multicolored glass. The lamp is topped with a domed shade and supported by ornate chains. The circular sockets at the bottom of the lamp would have originally held long, cylindrical blown-glass lamps. This type of lamp originated with the master metalworkers of the Mamluk period in Egypt and Syria (1250–1517 CE). In the nineteenth and twentieth centuries, the art and architecture of the Mamluk period experienced a revival, in part because of a growing demand from European and American museums, collectors, and tourists. Western Orientalist painters depicted objects in this style in their fantastical depictions of the Islamic world. For example, a large, pierced metal lamp is documented in a painting by Spanish painter, Antonio Maria Fabres y Costa (1854–1938) in his Lighting the Lamp.Metalworkhttp://collection.shangrilahawaii.org/objects/3668/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/57367/fullBrown-Glazed Moldedware Bull's Head Ewer13th centuryStonepaste, monochrome glazeCeramicshttp://collection.shangrilahawaii.org/objects/4262/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/17083/fullBulbous Blown Glass Jar with Trailed Decoration3rd-4th centuryColored glassGlasshttp://collection.shangrilahawaii.org/objects/5518/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/57230/full“Caesar of Rome in Submission”1520Gouache painting, gold, and ink on paperThe Sasanian king (from the historical part of Shahnameh) is depicted in blue at the center of this scene, granting forgiveness to his rival Roman ruler. The figures in alternating tones of blue, red, and light-purple are mounted on the finely decorated architectural elements in a semi-circular arrangement. Not only the figures are carefully aligned around the King, but the colors have also been chosen carefully and solely to appear as aesthetically pleasing as possible, with little concern for perspective. The rich jewel tones were achieved by finely grinding semiprecious stones. The careful alignment of figures, drawing the viewer’s eye to the center, and framing the text, would have been sketched out by the master of the atelier well before any artisan actually touched the paper.Paintingshttp://collection.shangrilahawaii.org/objects/5933/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/59953/fullCarved and Painted Wooden Barong Bangkal19th centuryWood, polychrome pigments, metal hardware, fur, natural fibersThis is the wild boar iteration of Barong. It symbolizes the same character as Barong Ket—the manifestation of benevolent forces in the cosmos—but in an alternative physical form. Barong Bangkal is utilized in holiday processions of Galungan and Kuningan, serving a protective function. When performed, his jaws are operated to make a loud clapping noise. During village processions, children often parade their own non-sacred version of Barong Bangkal, sharing Balinese traditions across generations.Woodworkhttp://collection.shangrilahawaii.org/objects/6150/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/59959/fullCarved and Painted Wooden Barong Ket19th centuryWood, polychrome pigmentsBarong is the manifestation of the benevolent forces forming the delicate balance of good and evil in the cosmos. He is regarded as the protector who symbolizes health and fortune. The Barong mask is the most sacred part of the character and its locus of supernatural power; it is not worn, but rather carried in front of the face, its jaws operated by a dancer’s hands. The mask’s jaw makes a clapping noise characteristic of Barong, who does not speak during the performance. During the dance-drama, Barong is brought to life by two dancers encased in the mask, headdress, and decorated costume.Woodworkhttp://collection.shangrilahawaii.org/objects/6145/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/62827/fullCarved and Painted Wooden Ceiling with Stellar and Geometric Motifs1937Wood (cedar), polychrome pigments, gilding, bole, varnishThe ceiling overlooking the foyer is made of richly gilded and painted wood. The colorful geometric and floral motifs painted on the beams are offset by several unpainted beams in the central recessed portion. The ceiling, along with other architectural elements and furnishings, was custom-made for Shangri La by Moroccan artisans working under the supervision of the French firm S.A.L.A.M. René Martin based in Rabat, Morocco. This commission coincided with the revival and adaptation of Moroccan traditional arts in the twentieth century during the French colonial rule of Morocco (1912–1956). During this period, a French colonial administrator named Jean Gallotti published a two volume publication, Le Jardin et la Maison Arabes au Maroc (“The Arab Garden and House in Morocco”). This publication was owned by Doris Duke and served as a point of reference for both the ceiling and colorful stained glass windows of the foyer of Shangri La. (The design precedent for the ceiling appears as plate 32 of Gallotti’s book). Like museums and schools of traditional arts established during the French administration in Morocco, this book categorizes Moroccan arts by their material and aesthetic qualities, rather than their historical period or cultural context. The ceiling is composed of cedar wood, which is native to the Atlas mountains of Morocco. Because the climate in Hawaii differs greatly from the arid conditions of North Africa, the foyer ceiling has undergone careful conservation.Woodworkhttp://collection.shangrilahawaii.org/objects/3569/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/59949/fullCarved and Painted Wooden Mask of Jero Gede19th centuryWood, polychrome pigments, metal hardwareThe characters of Jero Gede (61.21) and Jero Luh (61.26) are a married couple thought to represent ancestors of the Balinese people. Jero Gede is of Malayo-Indian origin, while his wife Jero Luh is Chinese. Their physical representation is that of opposites, refined and unrefined. Jero Luh is portrayed with a pointed chin and forehead, small nose and perpetual smile. Jero Gede represent a human-like Barong portrayed with fangs and large teeth to indicate his power while his rounded nose and cheeks imply a jolly disposition. When Barong Landung is performed, Jero Luh and Jero Gede are the same height. These larger-than-life sized masks appear in the Barong Landung ritual performed around certain Balinese holy days or when an auspicious signal from priests determine that their apotropaic (evil-averting) abilities are needed. These masks would not be worn by a performer, but instead placed on the faces of large puppets operated by an individual selected to articulate the bamboo frame of the puppets. This causes Jero Gede and Jero Luh to tower as giants above the crowd.Woodworkhttp://collection.shangrilahawaii.org/objects/6135/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/59956/fullCarved and Painted Wooden Mask of Jero Luh19th centuryWood, polychrome pigments, metal hardwareThe characters of Jero Luh (61.26) and Jero Gede (61.21) are a married couple thought to represent ancestors of the Balinese people. Jero Gede is of Malayo-Indian origin, while his wife Jero Luh is Chinese. Their physical representation is that of opposites, refined and unrefined. Jero Luh is portrayed with a pointed chin and forehead, small nose and perpetual smile. Jero Gede represent a human-like Barong portrayed with fangs and large teeth to indicate his power while his rounded nose and cheeks imply a jolly disposition. When Barong Landung is performed, Jero Luh and Jero Gede are the same height. These larger-than-life sized masks appear in the Barong Landung ritual performed around certain Balinese holy days or when an auspicious signal from priests determine that their apotropaic (evil-averting) abilities are needed. These masks would not be worn by a performer, but instead placed on the faces of large puppets operated by an individual selected to articulate the bamboo frame of the puppets. This causes Jero Gede and Jero Luh to tower as giants above the crowd.Woodworkhttp://collection.shangrilahawaii.org/objects/4747/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/59954/fullCarved and Painted Wooden Mask of Rangda19th centuryWood, polychrome pigments, metal hardwareRangda is an archetypal violent antagonist who also represents Dewi Durga, the Queen of Black Magic and the Goddess of Death. She is a vengeful widow whose powers encompass both protection and destruction. Her story is told in the Calonarang drama, but this mask can also serve as Dewi Durga in the Barong drama. The typical mask iconography of Rangda includes: a white color base, bulging eyes, flaring nostrils, fearsome fangs curving outward in a cavernous mouth complete with an elongated tongue brandishing bursts of flames. The mask’s hair is usually made of horsehair.Woodworkhttp://collection.shangrilahawaii.org/objects/6136/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/60020/fullCarved and Painted Wooden Mask of Sidakarya Putih19th centuryWood, polychrome pigments, metal hardware, hairTopeng is a form of Balinese theater in which one actor may be responsible for portraying multiple characters throughout the story. Actors change their masks throughout the performance, accompanied by ritual purifications or symbolic switching from character-to-character. The character of Sidakarya Putih concludes the performance of topeng. His character is performed at various religious festivals as it is believed he can ward off malevolent spirits and invite benevolent ones.Woodworkhttp://collection.shangrilahawaii.org/objects/6144/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/59947/fullCarved and Painted Wooden Mask of Subali or Sugriwa20th centuryWood, polychrome pigments, rawhide, metal hardwareBearing great similarities in their depiction, Subali and Sugriwa are two rival monkey brothers from the Hindu epic, the Ramayana. Throughout a series of events, Subali becomes intertwined in an incendiary duel involving his younger brother, Sugriwa, and Subali’s wife Dewi Tara. After Subali was presumed dead, his brother Sugriwa claimed Dewi Tara as his own wife, catalyzing the legendary battle between the Monkey Kings. The story of the two brothers is a popular excerpt from the Ramayana performed in both traditional and modern iterations.Woodworkhttp://collection.shangrilahawaii.org/objects/6138/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/41861/fullCarved Celadon Jade Covered Vase19th centuryJadeHardstoneshttp://collection.shangrilahawaii.org/objects/446/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/44053/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/58495/fullCarved Folding Screen with Floral Motifs19th centuryWood, metal hardwareWoodworkhttp://collection.shangrilahawaii.org/objects/3988/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/44122/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/15519/fullCarved Jade Qur'an Stand with Floral Motifs18th centuryJadeHardstoneshttp://collection.shangrilahawaii.org/objects/3876/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/18279/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/58176/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/14964/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/58174/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/58175/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/58177/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/62743/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/44055/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/58911/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/58916/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/46523/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/58912/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/58913/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/58914/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/58915/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/18253/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/18256/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/18259/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/18261/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/41602/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/18227/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/18228/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/18229/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/14961/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/18231/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/18233/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/57019/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/57019/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/57019/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/18235/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/18236/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/18237/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/18239/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/18240/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/18241/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/rdf