This hookah base is a sophisticated artistic creation made of dark green glass with gilding. The exterior of its body and neck are embellished with lush bird-on-branch imagery executed in gilt outline, which is reminiscent of the contemporaneous chinoiserie designs popular in Europe. The interior of the vessel body has narrow swathes of bright green enamel intricately painted between the contours of the larger vegetal and floral forms. It provides a murky emphasis and an impression of depth to the ground lines and decorative motifs, and may have been inspired by the European and Chinese traditions of reverse painting on glass. The exuberance of the composition is balanced by the restraint and elegance of its limited palette, together making the LACMA hookah base a refined work of art. Perching birds on flowering branches often rising from meandering ground lines is a pictorial convention frequently found in the borders of album paintings from Lucknow. Numerous representations appear in works by master painters such as Mir Kalan Khan (fl. c. 1734-70) and Mihr Chand (fl. c. 1759-86), formerly in the private collections of Lucknow’s leading art patrons Claude Martin (1735-1800) and Antoine-Louis Polier (1741-95). The luxuriant floral patterns favored by the Lucknow connoisseurs are less formalized and more energetic than the earlier Mughal predilection for a single flowering plant or a series of floral sprays arranged against a plain, solid background.

• Rosenfield, John.  The Arts of India and Nepal: The Nasli and Alice Heeramaneck Collection.  Boston:  Museum of Fine Arts, Boston, 1966.
• Markel, Stephen.  "Indian and 'Indianate' Glass Vessels in the Los Angeles County Museum of Art."  Journal of Glass Studies 33 (1991):  82-92.
• Markel, Stephen & Gude, Tushara Bundu. India's Fabled City. The Art of Courtly Lucknow. Los Angeles County Museum of Art and Del Monico Books- Prestel. Los Angeles, CA. 2010..