Description
This monumental, exceptionally rare and important round silver salver, originating from Poona (Pune) in the mid to late 19th century, stands as a masterwork of Indian repoussé silver craftsmanship deeply rooted in Hindu religious iconography and was commissioned for the indigenous people.
Likely commissioned for a Maharaja or as an offering to a significant temple, this piece is distinct from the more common colonial-era silverware crafted for European tastes.
Academic, Artistic Details and Iconographic Significance
At its centre, the salver features Lord Vishnu reclining on the cosmic serpent, with Brahma emerging from a lotus at his navel.
Surrounding them are Lakshmi (Bhumi Devi), Garuda, and other figures from the Vedic pantheon, all rendered in high repoussé.
The charger also includes the Dasavatara (which refers to the principal avatars incarnations of Vishnu, the Hindu God of Preservation or the ten avatars of Vishnu).
Additionally the twelve narrative panels are depicted on the rim of the salver each bordered by floral scrolls and surrounded by a repeating floral pattern in high relief.
Notably, the repoussé work on this piece exhibits a mix of styles.
Some sections display exceptionally fine and intricate workmanship, while others have a more naïve yet charming quality.
This variation suggests that multiple artisans, each with their own stylistic approach, may have contributed to the piece, adding to its unique character and depth.
Comparative Rarity
to the best of our knowledge, this mid–late 19th century Poona repoussé silver charger is likely the second known surviving example of its kind, with the only comparable piece residing in the British Museum, London, UK. (accession number 1981,0414.1, Brooke Sewell Permanent Fund).
Researchers at the British Museum suggest that the style, iconography, and integrated elements of the related devotional salver indicate that it was produced in Thanjavur around the early 1800s AD., and it reflects a blend of Indian and British influences and it may have been influenced by European devotional salvers or commissioned to suit British tastes.
Nevertheless, the Hindu reliefs and carvings reflect themes commonly found in Hindu temples across India, and it was not unusual for such motifs to be employed in the creation of large and heavy devotional Indian silverware.
In our view, both the British Museum example and our charger represent exceptionally rare survivors devoted entirely to indigenous Hindu religious themes.
The rarity and significance of these salvers make them invaluable for both academic study and serious collectors.
Conclusion
Our currently available salver or charger is not only an outstanding example of 19th-century Indian repoussé silver, but also a rare survival of Hindu-inspired sacred silverware.
Its monumental proportions, rich iconography, and exceptional craftsmanship strongly suggest it was a temple commission or princely order, intended to embody both wealth and devotion.