BIDAR, DECCAN, INDIA, SECOND HALF 17TH OR 18TH CENTURY

Bidriware is perhaps the most distinctive luxury good produced in the Deccan, representing a sublime fusion of artistry and craftsmanship. Three chini-khana pavilions, flanked by palm trees and perched on rocky outcrops, evoke the grandeur of contemporaneous 17th and 18th Deccani painting. These relate to a number of paintings depicted in a Ragamala series from north Deccan, dating to 1630-50, in particular the illustration of Sorathi ragini, second wife of Megha raga (Francesca Galloway, Court, Epic, Spirit: Indian Art 15th-19th Century, exhibition catalogue, London, 2022, pp. 53-60, figs. 13a-13n). Between the pavilions of this flask are animals and figures, while below flows a river teeming with fish, turtles, crocodiles, and crustaceans. Amongst the foliage and animals depicted on our flask are several Hindu deities. In the main register can be found various avatars of Vishnu as well as a meditating Ganesha and the magical cow Surabhi.

Depictions of architecture, landscapes, and animals are rare in Bidriware, with most examples decorated with floral motifs. This exceptional surahi relates closely to a renowned group of five Bidri vessels attributed by Mark Zebrowski to a remarkably innovative 17th century workshop, or possibly even a single master artisan. That group includes four huqqa bases and a lime container (chunam) topped with a bird-shaped stopper (Mark Zebrowski, Gold, Silver and Bronze from Mughal India, London, 1997, pp. 228-231, figs. 369, 370 [and 410], 371 [and 509], 372 [and 510], 375 [and 507]).

Dating from 1650-1675 and attributed to a master of the generation after Zebrowski’s is another closely related huqqa which appeared on the London Art Market with Simon Ray (Simon Ray, Indian & Islamic Works of Art, exhibition catalogue, London, 2015, pp.64-67, no.28). The composition and design of our flask relates closely to this example. Like ours, the motifs in the Simon Ray huqqa, especially the animals, feature a secondary inner outline that is either incised or hatched just within the outer form. This additional line not only enhances depth and detail but also improves the adhesion of the silver inlay, a technique noted by Kjeld von Folsach in his discussion of Simon Ray’s Bidri vessel (Simon Ray, op.cit., p. 67). The surface is then textured through incisions, hatching, or engraving to create effects like tiger stripes, monkey fur, or fish scales. This further aids the silver in adhering to the base and may contribute to the excellent condition of the present surahi, with minimal loss of silver inlay.

The Zebrowski group and the Simon Ray huqqa are related by the depiction of pleasure pavilions atop rocky outcrops amidst jungle, inhabited by animals and occasionally figures, with an undulating riverbank below. The present flask is a clear continuation of the style of this imaginative and creative 17th century workshop. Zebrowski attributes two other pieces to that same workshop which he dates to the 18th century. The first is a huqqa in the National Museum of India, New Delhi (56160⁄6), which is decorated with narrative scenes from the Padmavat, the 16th century Sufi epic by Hindi poet Malik Mohammad Jayas. The second piece is another surahi, the only other known example to include animal and figural subjects (Zebrowski, op.cit., no. 286 and pl. 511). Given the stylistic similarity to the examples identified by Zebrowski, and the additional Simon Ray huqqa, it is reasonable to attribute our surahi to the same highly imaginative and creative workshop which appears to have been active from the mid 17th into the 18th century.

The similarities to the Simon Ray huqqa including the presence of a double outline may suggest a late 17th century which is further supported by the impressive size of our surahi. It is some 10cm. larger than the surahi published by Zebrowski. It is noted by Zebrowski that there was a noticeable reduction in the size of Bidri huqqas and surahis around the turn of the 18th century (Zebrowski, op.cit., p.235). Yet the manner of the drawing and in particular the density of the design of the present lot however relates particularly closely to the two 18th century examples cited by Zebrowski. Although sharing stylistic similarities, technically our surahi has more elegant inlay than the Zebrowski surahi which uses thicker and less refined silver. The Padmavat huqqa has losses to the silver and the engraving is quite rubbed but it would appear that it originally had the same double outline style found on our surahi which both lack the hatching found along the outlines of the Simon Ray huqqa.

The inclusion of the avatars of Vishnu (including Matsya, Kurma, Varaha, Narasimha, Krishna, Vamana, and Rama) and other Hindu deities also relates our surahi particularly closely to one further example, a fragment of an 18^th century bidriware pitcher in the National Museum, New Delhi (acc.no. 85.12; published in Preeti Bahadur Ramaswami and Kavita Singh (eds), Nauras: Many Arts of the Deccan, Delhi, pp.86-87). That fragment shares a similar style of drawing as our surahi along with a similar technique used for the application of the silver inlay. Whilst comparison to the Simon Ray huqqa raises the possibility of a later 17th century dating, the striking similarities of the subject, style of drawing and application of the silver inlay would suggest our surahi might also have been created at a similar time to the New Delhi fragment.

An interesting and seemingly unique feature is the inclusion of a boat in the main decorative register which is carrying five sailors wearing European-style hats. Following the arrival of the Portuguese in Goa in the 16^th century, Europeans would steadily be depicted more frequently in Indian painting. The wide brimmed hats worn by our sailors recall those worn by Portuguese travellers in 17^th century Mughal paintings, see The Drowning of Bahadur Shah, by La’l, circa 1603-4 (British Library, inv.no. Or 12988, f.66) or The Capture of Port Hugli from the Padhshahnama (Royal Collection, 1005025.u). The decorative elements of this bottle reflect a blend of Hindu Vaishnavism and Mughal influences whilst also incorporating effects from Europeans, particularly the Portuguese, who entered India as both pirates and traders in the 16th century. Their presence had a profound and lasting impact on the region's economic, social, and artistic spheres. A comparable example which also captures the diverse coming together of influences is the 17th century terracotta panels of the Jor Bangla temple in Bengal. The tiles depict Portuguese sailors in East Asian dragon boats and illustrates how global forces shaped the artistic landscape of India during this time.

It is particularly fascinating to see such a diverse array of subjects—including animals, deities, and European visitors—depicted within a single object. This variety not only demonstrates the exceptional skill of the artist in portraying different themes but also suggests a possible narrative or purpose behind the piece. Perhaps it was created for a specific patron with connections to European traders, or it might have been an opportunity for the artist to showcase his ability to render a wide range of figures and references. Regardless, the combination of these elements within one artwork undoubtedly adds layers of historical and cultural significance, making the piece even more compelling.

Of the known Bidri examples to use human figural decoration, other than the New Delhi fragment none are as overtly Hindu and the majority of Bidri was produced for Deccani Muslim aristocratic rulers (Jagdish Mittal, Bidri Ware and Damascene Work in the Jadish & Kamla Mittal Museum of Indian Art, Hyderabad, 2011, p.22). Bidriwares were highly sought after and prized amongst nobility and royalty. Given the particularly unusual decoration our flask was likely a special commission intended for a particular client. Even though our flask may have been produced whilst Bidar was under Mughal control, which lasted from 1656 until 1724 (Mittal, op.cit., p.11), there would have been no shortage of suitable patrons. In addition to the many prominent Hindus nobles serving the Mughal campaigns in the Deccan, a great number of affluent Gujarati and Rajasthani merchants migrated to the region bringing their traditions with them.

It is particularly fascinating to see such a diverse array of subjects—including animals, deities, and European visitors—depicted within a single object. This variety not only demonstrates the exceptional skill of the artist in portraying different themes but also suggests a possible narrative or purpose behind the piece. Perhaps it was created for a specific patron with connections to European traders, or it might have been an opportunity for the artist to showcase his ability to render a wide range of figures and references. Regardless, the combination of these elements within one artwork undoubtedly adds layers of historical and cultural significance, making the piece even more compelling.