Ivory-inlaid cabinets such as the present example were produced in two main centres, notably Gujarat and Sind, and emulated the Mughal courtly style. A particular favourite motif was the flower, much loved by the Emperor Akbar (r. 1556 - 1605), which developed into a recognised stylistic motif under the Emperors Jahangir (r. 1605 –1627) and Shah Jahan (r. 1628 - 1658) (A. Jaffer, Luxury Goods from India: The Art of the Indian Cabinet-Maker, Victoria and Albert Museum, 2002, no. 24, pp.62-3). Robert Skelton attributes the formal treatment of flowers to Jahangir’s stay in Kashmir in the spring of 1620 during which time he commissioned his court artist, Mansur, to record the floral and fauna around them. It has further been suggested that local Mughal artists may have also been inspired by European albums of flowers (ibid.).