The decoration on this panel consists of two confronted peacocks. They are painted against an intense black ground and placed on either side of a vase containing tall stems which bend under the weight of dog-rose and “Herati” type flowers, reminiscent of those habitually depicted in seventeenth century carpet designs. The vase rests on a stylized element which vaguely resembles a kashkul or vegetal basket. The colors used for the floral and animal motifs are pastel – white and different nuances of orange ocher.

This iconographic theme had already been exploited in the decoration of the tile mosaic of the Kirman Friday Mosque, a building that was restored and redecorated in about 957 H/ 1550. This decoration was executed by an artist from Isfahan: Hâjjî Beg ‘Inâyat Allâh ibn Nizâm ad-Dîn.

The iconographic motif of the peacock appeared very early on in Islamic art. In classical Iranian poetry – particularly in the works of the great poets Rudaki and Attar – it usually seems to be associated with the sun. It became by extension a theme linked with royalty.