The art of pen case-making has long-standing ties with Iranian culture. Qajar era, this craft reached its zenith as artisans elevated it to new heights of perfection, surpassing the previously prevalent use of metallic pen cases. Qajar painting sought to achieve a harmonious balance between the contrasting elements of Iranian and European art. This endeavor, particularly prominent in the first half of the 13th century AH, led to a brief yet remarkable synthesis, significantly influencing pen case decoration of the time. Fathollah Shirazi is among the most prominent lacquer painters and pen case decorators of the Qajar period. The most notable motifs in his works include floral patterns, especially Gol-o-Morgh (flowers and birds). He often utilized captivating designs framed by scenic compositions with borders adorned with roses. This research aims to study the Gol-o-Morgh motif in Fathollah Shirazi’s paintings. The main research questions are: How have the influences of Gol-o-Morgh paintings on Fathollah Shirazi's pen cases shaped the art of the Qajar era? What are the distinctive visual characteristics of Gol-o-Morgh motifs in Fathollah Shirazi's pen cases? The research adopts a qualitative approach and employs an analytical-descriptive method. Data was collected through documentary (library) sources. The analysis of Qajar pen cases reveals that Shirazi’s designs prominently include painted Gol-o Morgh motifs. The designs on these pen cases exhibit depth influenced by European painting styles. However, Shirazi’s hybridized Farangi-Ma'ab (Europeanized) school distinguishes itself from his contemporaries. His pen case decorations are characterized by realism and a naturalistic approach, reflecting his inclination toward realism, aligned with an understanding of the mystical meanings of these visual elements rather than mere ornamental abstraction or symbolic representation.