Copperware

Ewer and Basin

(tash naer) تش نٮ۪ر

Mid-19th century Origin: Kashmir Material: Copper with tin plating and black enamel This exceptional Tash Naer is a traditional Kashmiri ceremonial handwashing set comprising a tall ablution ewer (Nari) and a matching basin (Tash). Used before and after formal meals, particularly during elaborate Wazwan feasts, such sets formed an important part of Kashmiri hospitality and etiquette. The ewer features a graceful, elongated form with a curved pouring spout and handle terminating in stylized animal head mounts, reflecting the influence of Persianate and Islamic metalworking traditions. The basin is distinguished by its wide, flared profile, raised pedestal foot, and central perforated strainer designed to collect wastewater discreetly below. From a top-down perspective, the basin displays a swirling layout of stylized radiating lobes that mimic the elegant curvature of a blooming flower or repeating paisley motifs. Both vessels are lavishly decorated with a breathtakingly dense engraving, featuring tiny, tightly packed floral arabesques and coriander-leaf patterns. Deep black enamel fills the recessed hand-chiselled details, contrasting sharply against the bright, silvery tin plated ground to create a magnificent visual depth. Representing the pinnacle of 19th to early 20th century Kashmiri metalwork, this complete set beautifully illustrates a seamless union of elite domestic utility and master craftsmanship. Private collection: Trām and Beyond

Samavar

(sa-ma-vār) سماوار

20th Century Origin: Kashmir Material: Copper with tin plating A traditional Kashmiri Samavar is a metal tea urn used for the preparation and serving of hot beverages like kahwa and salted tea (nūn chai). Adapted from Central Asian and Persian samovar traditions, Kashmiri examples typically feature a central charcoal chamber surrounded by a water reservoir. Finely engraved and often silver-plated or tinned, the samavar became both a functional household vessel and a celebrated expression of Kashmiri metal craftsmanship. It remains one of the most iconic objects of Kashmiri domestic culture even today. Private collection - Trām and Beyond

Bowl

(ṭour) ٹور

Late 19th century Origin: Kashmir Design: Shawl-tarah Material: Copper with tin plating and black enamel A richly engraved Kashmiri copper bowl decorated with repeating arched cartouches derived from shawl design vocabulary. The upper and lower bands carry continuous vegetal ornament, while the main register displays rhythmic architectural framing motifs filled with tightly worked foliage. The openwork pedestal base appears stylistically distinct from the bowl itself and may represent a later addition. Bowls of this type more commonly rest on a low, understated ring foot. The current pierced stand could reflect a subsequent modification, possibly undertaken later to elevate the piece for display. Private collection - Trām and Beyond

Altar Cross

19th Century Origin:Kashmir Provenance: Europe Material: Copper This exceptionally rare engraved metal Altar Cross is an important testament to the region's long tradition of intercultural artistic exchange. Its significance lies not only in its Christian iconography but also in the way local Kashmiri craftsmanship was adapted to serve the devotional needs of a minority religious community, producing a distinctive regional expression of ecclesiastical art. The engravings and the construction techniques are consistent with high-quality Kashmiri metalwork of the late Sikh and Dogra periods. Objects of this kind are extremely uncommon when compared with Islamic, Hindu, or Buddhist material from Kashmir. They are important evidence of the presence of historic Christian communities, missionary institutions, and ecclesiastical patronage in the Valley during the nineteenth century. Private collection - Trām and Beyond

Teapot

(ki-tal) کِتَل

Late 19th Century (circa 1870–1890) Origin: Kashmir Provenance: Europe Material: Copper This rare teapot reimagines the traditional Kashmiri kangri—a portable brazier used for warmth—into a sculptural domestic vessel, animated by intertwined serpent (nāga) motifs. The handle takes the form of a coiled serpent, echoed by a second snake that wraps around the lower body and extends seamlessly into the spout, while a third serpent crowns the lid. The surface is richly worked with repoussé vegetal and foliate motifs, demonstrating the high level of technical mastery characteristic of late 19th-century Kashmiri metalwork. In Kashmir, nāga imagery resurfaced strongly in the late 18th–early 19th century, when local Hindu-Buddhist symbolism quietly re-entered decorative arts alongside Islamic aesthetics. Such conceptual transformations of everyday forms into luxury objects appear in Kashmir after courtly taste solidified under Afghan (Durrani) and early Sikh rule. Private collection - Trām and Beyond

Samavar

(sa-ma-vār) سماوار

19th Century Origin: Kashmir Material: Copper with tin plating This finely crafted Samavar is a traditional tea urn used for preparing and serving hot beverages like kahwa and nūn chai (salted tea). Its surface is richly decorated with dense hand-chiseled floral arabesques and geometric bands. The elegant curved spout and sculptural handle further enhance its refined silhouette. Unlike later commercial examples that often display extensive repoussé ornament, this samavar relies on exceptionally fine engraving and balanced proportions, reflecting the work of a highly skilled metal craftsman. The form, very fine engravings, and overall construction are consistent with high-quality Kashmiri samavars produced during the Dogra period. Private collection - Trām and Beyond

Serving Tray

(maj-ma) مجمہ

circa 1780–1830 CE Origin: Kashmir Provenance: Europe Material: Copper This engraved majma reflects the refinement of Kashmiri metalwork during the transitional period between late Mughal, Afghan, and early Sikh rule. The design centers on a pierced square medallion surrounded by radiating scrollwork and elegant crescent motifs — a composition deeply rooted in the islimi (foliate arabesque) tradition of Islamic art and a hallmark of Kashmiri metal design from the late 18th to early 19th century. The refined vegetal ornamentation, inherited from Safavid Persia and Central Asia, and introduced to Kashmir through artisans and traders active along the Silk Route, distinctly localized in rhythm and density, marks the synthesis that defined Kashmiri craftsmanship after the decline of imperial Mughal ateliers. During the following Afghan rule (1752–1819) and early Sikh period (19th century), Kashmiri artisans shifted from geometric towards freer vegeral motifs. By the late 18th century, such trays had become essential objects in elite households symbolising grace, hospitality, and status. The restrained brilliance of engraved copper — rather than gilded metal — speaks to a period when courtly taste was refined but no longer imperial, marking Kashmir’s artistic transition from Mughal grandeur to localized elegance. Private collection - Trām and Beyond

Bowl

(ṭour) ٹور

1800–1801 CE Origin: Kashmir Provenance: Europe Material: Copper with tin plating and black enamel finish Design: Calligraphy (99 names of Allah) This remarkable inscribed bowl represents an important example of Kashmiri epigraphic metalwork from the late eighteenth century. Formed as a hemispherical vessel resting on an integral ring foot, its entire exterior surface is covered with finely engraved Arabic inscriptions rather than the floral ornament more commonly associated with Kashmiri metalwork. The inscriptions comprise the Ninety-Nine Names of Allah, transforming the vessel into both a functional object and a devotional work of art. An inscription engraved within the recessed base includes the word “Kashmir” (کشمیر) together with the date 1215 AH (1800–1801 CE), providing valuable historical context and regional attribution. The engraved characters are accentuated with a dark filling that contrasts with the aged metal surface, enhancing their legibility. Bowls of this type were often associated with Sufi devotional practices, symbolizing humility, spiritual discipline, and the remembrance of the Divine. Private collection: Trām and Beyond

Zoomorphic Ewer

(go-lab pash) گلاب پاش

Mid–late 18th to early 19th century (c. 1750–1820) Origin : Kashmir Material: Copper with tin plating A finely crafted Kashmiri rosewater sprinkler cast and chased in the form of a bird, combining sculptural presence with functional design. The surface is densely ornamented with hand-chased vegetal and foliate motifs, reflecting the refined Persianate aesthetic that shaped Kashmiri courtly arts. The bird form may allude to local symbolic traditions, including associations with purity, and auspiciousness, while the serpent-like detailing recalls Kashmir’s deep-rooted Nāga symbolism connected to water. Such objects were used for sprinkling rosewater during gatherings and ceremonial occasions, combining ritual function with expressive artistry. The fully three-dimensional bird form reflects a period when Kashmiri metalwork was still strongly connected to courtly and ritual production. Rose-water sprinklers of sculptural animal or bird forms like this are more commonly documented in 18th-century court culture across Kashmir and the Indo-Persian world. The ornament remains firmly within a Persian and Central Asian aesthetic, without colonial design intrusions that often appear after 1850. Private collection - Trām and Beyond

Bowl

(ṭour) ٹور

Late 18th century Origin: Kashmir Material: Copper with tin plating and black enamel Design: Hashi Private collection - Trām and Beyond

Rosewater Sprinkler

(go-lab pash) گلاب پاش

Late 19th century Origin: Kashmir Material: Tin plated Copper This magnificent vessel is an antique Kashmiri traditional rosewater sprinkler, locally known as a 'Gulab-Pash'. The vessel features a striking, regal silhouette consisting of a wide, compressed globular body, a sharply tapered neck punctuated by an intermediate bulbous ring, and a heavy flared pedestal foot. The lip of the neck is finished with a crown-like, scalloped collar designed to receive the long, decorative dispensing stem. The complete assembly recreated using AI (Taking reference of a similar piece from the collection of “the cashmere chronicles”) showcases the elongated, elegant neck extension that would rise into a perforated top finial. This upper canopy would have been intricately decorated with hanging fish-shaped metal charms dangling from delicate chain links, which elegantly disperse a fine mist of perfumed rosewater during formal hospitality, weddings, or religious rituals. The entire surface of the copper base is completely blanketed with a masterfully executed dense, flowing network of repeating floral scrolls. Exemplifying the peak of late 19th-century domestic luxury and welcoming customs, this piece serves as a beautiful testament to the sophisticated design language of old Kashmiri metalsmiths. Private collection: Trām and Beyond

Bowl

(ṭour) ٹور

Late 19th century Origin: Kashmir Material: Copper with tin plating and black enamel This bowl is a beautifully proportioned example of Kashmiri domestic metalware where symbolism, ornament, and function merge seamlessly. The central band features alternating floral cartouches and naturalistic motifs, including a finely rendered fish. Above, a scrolling vegetal frieze flows continuously along the flared rim, while the lower border is defined by a subtle ground of textured floral patterning. The engraving reflects the refined vocabulary of late 19th-century Kashmiri metalwork, where shawl-inspired floral forms were translated into copper with remarkable precision. Private collection - Trām and Beyond

Bowl

(ṭour) ٹور

Late 19th century (circa 1870-1890) Origin: Kashmir Material: Copper with tin plating and black enamel This Kashmiri copper bowl is decorated with a continuous diagonal lattice of stylised floral rosettes and scrolling foliage, a pattern language closely aligned with late 19th-century Kashmiri shawl design. In Kashmiri metalwork, pattern was a form of memory: learned slowly, repeated carefully, and carried forward without names. What appears ornamental is in fact disciplined labor, shaped for daily life and long use. Private Collection - Trām and Beyond

Pedestal Eating Bowl

(kyaenz) کٮ۪نٛز

Late 19th – early 20th century CE Origin: Kashmir Material: Copper with tin plating and black enamel Design Name: Toschal-e-Posh A fine example of late 19th–early 20th century Kashmiri metalwork, this kyenz embodies the everyday elegance of traditional Kashmiri households where even the simplest objects were crafted with remarkable artistic devotion. The top band carries a Persian-Nastaʿlīq inscription, a feature commonly found on Kashmiri metalwork from the late 19th century, reflecting the refined Indo-Persian aesthetic that shaped Kashmir’s artistic traditions during this transitional period of Afghan, Sikh, and Dogra influences. Below a continuous floral scroll frieze separates it from the mid-section engraved in dense toschal-e-posh motif — a compact, repeating floral lattice. This motif is unique to Kashmiri decorative vocabulary and appears frequently in 19th-century copperware. The gently swelling bowl sits upon an elegant openwork pedestal. The pierced geometric-floral lattice not only lightens the form visually but also reflects influences from Kashmir’s rich aesthetic exchange during the late Dogra period, when Mughal floral conventions, Central Asian geometry, and local Kashmiri carving traditions merged. Private collection - Trām and Beyond

Bowl

(ṭour) ٹور

Late 19th century (circa 1870-1885) Origin: Kashmir Material: Copper with tin plating and black enamel This finely engraved copper bowl exemplifies late 19th-century Kashmiri metalwork, distinguished by its dense shawl tarah ornamentation. The surface is entirely covered with scrolling boteh-derived forms, floral rosettes, and curvilinear panels closely echoing patterns found in contemporaneous Kashmiri pashmina shawls. This vessel was not made to be admired from a distance. Every line follows the memory of a hand — patient, trained, and anonymous. What survives today is not just metal, but a way of living that asked for care. Private collection - Trām and Beyond

Serving Tray

(maj-ma) مجمہ

Circa 1850–1880 CE Origin: Kashmir Material: Copper Design: Shawl Tarah This finely engraved copper tray with chased and burnished detailing exemplifies the Shawl Tarah style of Kashmiri metalwork — a design tradition inspired by the intricate embroidery and woven patterns of Kashmiri shawls. The design represents the mature phase of Kashmiri metalwork in the mid-19th century, when chased engraving reached a new level of refinement under late Sikh and early Dogra patronage. By this period, Kashmiri artisans were creating for both local patrons and the growing colonial market, blending traditional craftsmanship with the broader artistic vocabulary inherited from Mughal, Afghan, and Sikh transitions — an artistic continuity that bridged courtly refinement and regional identity. The central field is filled with delicate badam (paisley) motifs — the quintessential Kashmiri ornamental form — surrounded by rhythmic scrollwork and arabesques. The border, with its continuous vine-like pattern, mirrors the embroidered edges of pashmina shawls, translating textile design into metal through exceptional precision and balance. Such trays were prized possessions in the elite and nobile households. Private collection - Trām and Beyond

Teapot

(ki-tal) کِتَل

circa 19th century Origin: Kashmir Provenance: Europe Material: Copper This finely crafted Teapot is an elegant example of Kashmiri decorative metalwork intended for export. Formed with a rounded, lobed body, a gracefully curved spout, and a high arched handle, the vessel is richly embellished with hand-chased floral arabesques arranged within radiating panels. The scalloped rim and domed lid further enhance its refined silhouette, reflecting the strong Persianate influences that shaped Kashmiri metal design. Although tea was central to Kashmiri daily life, locally brewed tea was traditionally prepared and served from the samovar, which remained the preferred household vessel. Ornate teapots such as this were therefore produced largely for external markets and export trade, particularly during the late nineteenth and early twentieth centuries when Kashmiri craftsmen supplied luxury metalware to patrons and collectors beyond the Valley. The piece illustrates the adaptability of Kashmiri artisans, who applied their celebrated engraving traditions to forms intended for a wider international clientele. Private collection - Trām and Beyond