Fashioned in an overall triangular or deltoid leaf shape with a curved apex, known specifically as a falcate leaf shape, the back of this light green jade mirror has a flat inner plane embellished with a stylized, blossoming lotus plant executed in shallow relief. It is surrounded by a serrated edge of pointed leaves with the tip folded over in the elegant fashion popular in mid-17th-century Mughal painting. The base of the mirror is formed by two splayed acanthus leaves that are pierced along their inner border. An iris flower encircled by its stem forms the perforated handle. The mirror is fronted with a rock crystal panel with traces of gilding. The dynamic asymmetry of the falcate leaf shape results in a much livelier expressiveness than most Mughal handheld mirrors, which are typically circular, oval, square, or octagonal in shape. The slightly stiff stylized treatment of the central lotus plant suggests that this mirror was likely made in the late 17th century. First imported into Mughal India in the early 16th century, silvered or gilded mirrors were highly prized by the women at court and royal courtiers. Ostensibly used mundanely to aid in the application of cosmetics, handheld mirrors were also regarded as exotic luxury curiosities. Within a century, however, mirrors became commonplace and demand dwindled except for exceptional examples.

• Rosenfield, John.  The Arts of India and Nepal: The Nasli and Alice Heeramaneck Collection.  Boston:  Museum of Fine Arts, Boston, 1966.

• Pal, Pratapaditya, Thomas W. Lentz, Sheila R. Canby, Edwin Binney, 3rd, Walter B. Denny, and Stephen Markel. "Arts from Islamic Cultures: Los Angeles County Museum of Art." Arts of Asia 17, no. 6 (November/December 1987): 73-130.

• Pal, Pratapaditya, Janice Leoshko, Joseph M. Dye, III,  Stephen Markel.  Romance of the Taj Mahal.  Los Angeles:  Los Angeles County Museum of Art, 1989.
• Markel, Stephen.  "The Use of Flora and Fauna Imagery in Mughal Decorative Arts."  Marg 50, no. 3 (March 1999).