Persia was the centre of lacquer works on the nearest East. They differed from Japanese ones in the process of preparation.
They used papier-mache instead of wood. For its preparation they use thin paper (since 19th century they have used news-print). They screwed it on a wooden form (east). Beginning with the second coat the paper sheet pasted by special glue on water - chirish (shoemakers used it). It wasn't pressed but it was being dried on the last on the sun during two days. After it they cut the mass and took out from the last. This half-finished product was not a strongly built construction that's why they didn't work up it joinery.
The half-finished product was primed by the joiner's glue with chalk and whiting. Then when prim had dried it was scrubbed by special stone and only after it they began to paint. They painted by special colours diluted on the yolk. This method was taken from Byzantium. Sometimes they use colours on joiner's glue. After colour painting they put gold ornament. The gold was diluted on honey with glue. The gold was not polished, it remained dull and weakly flashed. Lacquer was special and the main of it was sandarac. The thing was covered by some lacquer coats during some days and it was dried on the sun. Lacquer surface was not polished.
Persian lacquers were not durable and they had no very shine surface in comparison with Japanese or European ones. The time had passed and on the surface of such things you could see cracks, lacquer became dark, colours exfoliated.
