KASHMIRI SOLID SILVER TEA SERVICE, SHAWL PATTERN/KANGRI, ISLAMIC INDIA C.1900

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KASHMIRI SOLID SILVER TEA SERVICE, SHAWL PATTERN/KANGRI, ISLAMIC INDIA C.1900:
$2740.47

This high quality,heavyKashmiri solid silver teaservice has been ornamented withtheintricateshawl patterndesign,whose name derivesfrom the finely woven Cashmere shawls for which Kashmir was renowned.The a stylised dragon andshowCentral Asian influence, where copper and bronze knives and daggers were made in animal style.The handleshave beenornatelychased. Each of the vessels is covered by a hinged lid and the shape of the lids and the finials are derived from the architecture of the region.

Thedesign of the open weave,piercedpedestal feet which supportthecontainers,derives from the traditional KashmiriKangri, thedistinctively shaped carrying basket which held a small clay pot containing hot charcoal and served as a portablepersonalheater. In the cold winters, these baskets were carried next to the body, providingacontinuous source of warmth. Even small children would carry oneand they were taught at an early age how to handle the apparatus with care.It is known thatkangriswerein usein Kashmirat the time of India’sMughalEmpire and they are stillverywidely usedtheretoday.

Kashmiri artis sometimes described as Indo-Iranian or Indo-Persian and it was influenced by Indian, European and Middle Eastern design.Elements of the ornamentation, such as the stylised flowers and arabesques, show the artistic influence of the Middle East and belong to the Islamic tradition.The smooth and intricate effect of thelinework,replicated the artistry of the well known Kashmiri shawls, which were so popular in Victorian England and where motifs such as theboteh, or ‘Paisley’ shape are often found.

The region’s flourishing textile industry had an impact on the work of the silversmiths who looked to it for inspiration; borrowing and incorporating elements from the pattern library and emulating the weave and play of light across the fabric. Silver, the most reflective of all the metals, was the ideal medium to capture this effect.Floral motifs were usually placed amongst line work adorned with simple circular orcurvilinear patterns of arabesques and ‘Paisley’ motifs. This produced a two-dimensional effect with all the work rendered on a flat plane. The line work and background of floral motifs occupied the same level as the arabesques or scrolling ribbons, without the silver’s surface being raised or depressed.

As withthis service,lineworkwasoften contrasted with other areas where different metalworking techniques had been used, such as piercing and chasing orrepousseand chasing, which weremorethree dimensional and provided a markedtextural variation, addingvisual and tactile interest.

Condition– Verygood,commensurate with age and careful usage. Some slight signs of wear and use, which do not detract.

Dimensions

TeaPot -Height23cms, width22cms

Creamjug -Height17cms,width15.5cms

Sugarbowl–Height17cms, width 15cms

Total weight– 1770grammes

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