Of a substantial and commanding form, this large dish is crafted from a heavy-gauge copper alloy, likely brass or high-tin bronze, which has acquired a deep and variegated dark brown and verdigris patina over time. The form is highly sculptural, modelled in the shape of a blooming flower, likely a lotus or chrysanthemum, with twelve primary, deeply concave lobes forming the rim. These lobes are themselves finished with a complex cusped edge, creating a dynamic and intricate silhouette.

The interior of the dish is profusely decorated with exceptional artistry. At its centre lies a large, circular medallion enclosing a masterfully executed calligraphic inscription in a fluid, cursive script, likely Thuluth or a related style. This inscription, possibly a benedictory phrase, a line of poetry, or a religious invocation, is the focal point of the composition. Surrounding this central feature, the entire surface of the dish is a field of meticulously hand-chased and engraved decoration. This consists of dense, scrolling arabesques, floral vinery (islimi), and geometric strapwork, demonstrating the craftsman’s remarkable control and patience.

A particularly striking feature is a series of twelve raised bosses, or studs, that punctuate the design, arranged in a circle between the central medallion and the lobed rim. Each boss is worked in a stylised quatrefoil or cruciform shape, adding a three-dimensional, architectural quality to the interior surface. The overall effect is one of immense richness and complexity, a testament to the sophisticated metalworking traditions of Qajar Persia.