Produced by placing pulped paper mixed with rice in layers over a mold, papier-mâché objects are coated with a mixture of glue and plaster and smoothed with a flat stone. Layers of fine tissue paper are applied and the surface is sanded to prepare for the painted surface decoration, followed by multiple coats of lacquer. The figural decoration of this example shows a strong relationship to paintings of the period.
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Artwork Details
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Title:Box with Scenes of an Emperor Receiving Gifts
Date:early to mid-17th century
Geography:Made in India
Medium:Papier-maché; painted and lacquered
Dimensions:W. 10 in. (25.4 cm) D: 4 3/4 in. (12.1 cm) L. 10 1/16 in. (25.5 cm)
Classification:Lacquer
Credit Line:Rogers Fund, 1958
Accession Number:58.159
Box
Lacquered papier-mâché containers, trays, and other decorative objects have been produced in India since the 17th century and perhaps earlier. Produced by the application of pulped paper mixed with rice applied in layers over a mold, the papier-mâché object is coated with a mixture of glue and plaster and smoothed with a flat stone. Layers of fine tissue paper are applied and the surface is sanded to prepare for the painted surface decoration, followed by multiple coats of lacquer.
This octagonal box and its slightly domed cover, attached by hinges and secured with a lock, may have served as a jewel casket. Within the painted interior, a series of compartments ring the sides of the box on an upper level, leaving an octagonal opening below which a recessed storage area is revealed.
One might speculate that this box was produced to commemorate the visit of a Mughal emperor to one of his provincial capitals as it includes elements typical of many Mughal darbar or "audience" scenes. The emperor, seated on a balcony with attendants, reaches downward to receive the gift of an unstrung bow from a man standing on an elevated platform. Below the balcony, the emperor's courtiers observe the ceremony while a senior Mughal official appears to confirm the tally of gifts. To the left of the composition, other noblemen wait in line to present gifts of a sword, standard, quiver of arrows, staff or spear, and a shield. In the center register stands a group of men commenting on the festive occasion, while a band of musicians accompany whirling, scarved dancers who sway to the lively music. In the foreground, a man indicates an entrance into the enclosure to those bringing gifts of elephants, horses, and camels adorned with rich trappings.
Side panels continue the theme with vignettes of courtly life and the box lid's interior is embellished with two entwined and blossoming trees, birds, and flowers.
Rochelle Kessler in [Walker et al. 1994]
[ R. Louy, Milan, Italy, until 1958; sold to MMA]
Mexico City. Colegio de San Ildefonso. "Arte Islámico del Museo Metropolitano de Arte de Nueva York," September 30, 1994–January 8, 1995, no. 33.
Skelton, Robert. The Indian Heritage: Court Life and Arts under Mughal Rule. London: Victoria and Albert Museum, 1982. no. 546, p. 161 (ill.).
Metropolitan Museum of Art, Daniel S. Walker, Arturo Ponce Guadián, Sussan Babaie, Stefano Carboni, Aimee Froom, Marie Lukens Swietochowski, Tomoko Masuya, Annie Christine Daskalakis-Matthews, Abdallah Kahil, and Rochelle Kessler. "Colegio de San Ildefonso, Septiembre de 1994–Enero de 1995." In Arte Islámico del Museo Metropolitano de Arte de Nueva York. Mexico City: Consejo Nacional para la Cultura y las Artes, 1994. no. 33, pp. 110–11, ill. (b/w).
Painting attributed to Bichitr (Indian, active ca. 1610–60)
ca. 1640
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