This artwork of Monir Shahroudi Farmanfarmaian is a striking example of the artist's heritage, which has deep roots in her worldview. Therefore, the main form of the elements and signs, used in her artworks, is well represented. During more than half a century of artistic activity, signs, such as light, Islamic geometry, Muqarnas paintings, Āina-kāri and Girih tiles have a deep reflection on her artworks. As Donna Stein (Art History Researcher) wrote about these features: "nature of weight and soul of geometry which are two major elements in Islamic art, are created in Monir’s art. Interference and mathematical compositions of simple geometrical, such as circle, triangle, square and polygon shape, are basis of Monir’s analogical belief of the world. Low balance, dimensions, symbols and similarities, contains the sense of spatial interaction for these separated Mandalas. Through a simple order and repetition, it provides a continuous and harmonious circle, which does not have any beginning or ending, and at the same time, represents the features, which are not bounded in time and pure Islamic insight. In this artwork, which can be considered as the basis form of her spectacular workings, she wants to represent the Iranian-Islamic Girih tiles, but by changing the common rhythms in this art, she gave it a modern and universal statement. Unlike most of her known artworks, this artwork has been done on plaster and the mirror has been put in some few places.
“Due to style and type of the work, Monir Shahroudy Farmanfarmaian is one of the most exceptional Iranian contemporary artists. She is one of the first artists, who went abroad for studying along with Jalil Ziapour, Father of Iran’s modern Art, and returned to Iran with the experience in Western contemporary art. Monir Shahroudy, after adapting to the new style of Western art, in the 1930s, finds a quick way to combine Iranian-Islamic arts (in terms of form and material) with Western modern art. This combination, as we will see, is not representing nostalgic memories, like some of the artworks created in Saqqakhane style, because she creates one of the most artistic forms, which were fresh and stable in her time. In this regard, her artworks can be considered as one of the most Iranian and modern arts (modern here means Innovative, not its international meaning). She was a pioneer in creating modernism and postmodern art in Iran and that is why she can be known as mother of modern art of Iran.