Order of the Sun and Lion, Persia, from the World's Decorations series (N44) for Allen & Ginter Cigarettes 1890

Curator: This chromolithograph, dating back to 1890, features the "Order of the Sun and Lion, Persia," and was produced by Allen & Ginter as part of their "World's Decorations" series of cigarette cards. Editor: It has a delicate aesthetic, a quiet dignity to it. The rendering feels both precise and slightly faded, lending a vintage feel despite the vibrancy of some colours. What caught your eye initially? Curator: The title immediately pulls me in; the sun and lion are such potent and culturally rich symbols. It's not merely a depiction of an object, but an exploration of power and identity through iconic emblems. What historical narratives does this conjure for you? Editor: Given its function as a cigarette card, I immediately think of imperialism and how exoticism, the oriental other, was marketed to western consumers. The 'Order of the Sun and Lion' becomes a symbol of an empire perceived as 'other', consumed and collected through these cards. Curator: That's a crucial perspective. I’m drawn to the details: the ornate calligraphy circling the central image, which lends a circular form. The layering of the red border further intensifies the inner symbol of sun and lion which gives a halo like affect. Editor: And the surrounding ukiyo-e styled foliage too! It points toward the interesting cultural blend within the "World's Decoration" series as a whole. Curator: Precisely! It's also the physical scale; imagine someone holding this tiny card. These powerful, almost mythic symbols of Persian identity, now miniaturized, became readily available to collect as objects. How interesting the slippages of meaning! Editor: This speaks volumes about how images, even on seemingly insignificant items, carry and circulate narratives, reinforce socio-political structures. Curator: I’ve now reframed how such tiny symbolic transfers influence public perceptions. Editor: Right, these are pocket-sized empires! It really shows us that images are anything but neutral.