Silverware

رۄپھ

Kashmiri silverwork today is in a phase of serious decline, making surviving pieces important remnants of a fading artisanal tradition of refined engraving, repoussé, and filigree. With the arrival of European visitors around 19th-century, artisans began blending western forms with Kashmiri motifs, creating hybrid designs, characterized by local motifs, embodying both cultural continuity and adaptation. Most surviving objects were created for foreign markets, although there are many examples of decorative and utilitarian objects for local ritual and elite domestic life.

Incense-Stick Stand — image 1

Incense-Stick Stand

(Mushq-e-Tuj stand) مُشکِ تُج سٹینڈ

Late 19th–early 20th century, c. 1880–1920 Origin: Kashmir Material: Silver An exceptionally elaborate Kashmiri silver stand for burning incense sticks, distinguished by its tall architectural form and profusion of suspended chains giving it a jewellery-like delicacy. Its elaborate architecture was designed around the ritual act of burning multiple incense sticks rather than simply containing burning incense. The object is constructed vertically around a slender central stem, rising from a broad, pierced and ornamented base to a domed upper receptacle perforated with numerous small openings that would receive incense sticks, allowing them to stand upright. Unlike an Isband soz, which is principally a burner for loose incense (isband/Syrian rue seeds), this object is specifically configured around individual incense sticks. The object exemplifies the highly ornamental character of Kashmiri silverwork, in which functional household objects were transformed through intricate chasing, pierced work and flowing vegetal ornament. Such finely worked silver objects usually formed part of the traditional Kashmiri bridal trousseau, alongside other silver articles such as combs, mirrors, surma daanis, soap cases, sandals and jewellery. Their inclusion in the wedding gifts reflects the importance of silver not only as personal adornment but also as a marker of household status and prosperity. Private collection: Trām and Beyond

Not for Sale
Folding Lectern — image 1

Folding Lectern

(Rehal) ریحل

Late 19th–early 20th century Origin: Kashmir Material: Silver This finely worked Kashmiri silver rehal is a folding stand traditionally used to support the Qur’an during recitation. Its X-shaped construction allows the two hinged leaves to open into a stable lectern and fold flat when not in use. The stand is distinguished by an exceptionally elaborate combination of pierced silver cutwork and engraved decoration. Repeated bands of the chinar leaf, Kashmir's most recognisable botanical motif, form openwork panels giving the otherwise heavy object a remarkably delicate appearance. Interspersed between them are bands of Kashmiri calligraphy. The inscriptions consist of devotional and poetic verses rather than Qur’anic text. The combination of religious function, Kashmiri calligraphy and chinar ornament makes the piece especially representative of Kashmiri craftsmanship. Unlike a purely functional Qur’an stand, this example treats the rehal almost as a devotional object in its own right, with the calligraphic bands and vegetal cutwork making the support itself part of the act of displaying and honouring sacred text. Private collection: Trām and Beyond

Not for Sale
Water Flask — image 1

Water Flask

(su-rahi) سُراحی

Late 19th century Origin: Kashmir Provenance: Europe Material: Silver This finely engraved Surahi is a traditional vessel used for storing and dispensing rosewater and other fragrant liquids. Distinguished by its broad pear-shaped body and elongated tapering neck, the form derives from a long Persianate tradition that spread across South and Central Asia. The upper mouth is topped with an integrated dome-shaped lid, while a small, delicate metal ring is attached just below the neck junction, traditionally used to secure a stopper chain. The vessel is richly ornamented with dense floral arabesques and scrolling foliage, transforming a functional object into a work of decorative art. The elegant proportions and intricate engraving exemplify the high level of craftsmanship achieved by Kashmiri metalworkers during the nineteenth and early twentieth centuries. Private collection: Trām and Beyond

Not for Sale
Mirror Frame — image 1

Mirror Frame

(shisha) شیشہ

Early 20th century CE Origin: Kashmir Material: Silver Design : Chinar leaf motif with floral arabesque engraving and calligraphic detail This ornamental silver mirror frame is designed in the form of a stylized chinar leaf, one of the most enduring symbols of Kashmir and a recurring motif in regional decorative arts. The surface is densely engraved with floral arabesques characteristic of Kashmiri silver craftsmanship. The serrated circular opening held a mirror secured within the frame. Combining functional utility with elaborate ornament, the piece reflects the Kashmiri tradition of transforming everyday domestic objects into works of decorative art. Private collection - Trām and Beyond

Not for Sale