{"id":8687511077014,"title":"Monumental solid silver repoussé bowl, 19th century Pune, India.","handle":"monumental-solid-silver-repousse-bowl-19th-century-pune-india","description":"\u003cp class=\"p1\"\u003eMonumental solid silver repoussé bowl, depicting the childhood of Sarvadamana with some images derived from Raja Ravi Varma’s paintings for the Kalidasa play ‘Shakuntala’, 19th century Pune, India\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis exquisite, monumental silver bowl was produced in the city of Pune, south east of Bombay. This stupendous bowl is of exceptionally high quality, decorated extensively with protruding imagery, floral motifs and multiple figures of Hindu mythology around its circumference. This manner of Pune silver corresponds to bold designs of repoussé, a metalworking technique used to create raised forms on malleable metalware. Pune silver decoration is highly distinctive, the boldness of the silver execution differing in contrast to similar works from Madras (Wilkinson, 1999, pp. 169-170). The top part of the bowl is decorated with eight busts of turbaned or hatted men, with the sections between them containing elaborate floral motifs. The most important aspects of the bowl are eight scenes from the life of or are pertinent to Sarvadamana portrayed around the bowl, some of which correspond to Raja Ravi Varma’s(1848-1906) paintings for the ancient Kalisada play \u003ci\u003eShakuntala\u003c\/i\u003e. The lower section of the bowl’s circumference is lavishly decorated with depictions of serpents twined around small dogs. The base of the bowl portrays a magnificent peacock, an animal pertinent to multiple Hindu deities. This spectacular, large bowl portrays numerous figures from the \u003ci\u003eMahabharata\u003c\/i\u003e, primarily depicting the scenes concerning Sarvadamana and his mother Shakuntala. Sarvadamana was the childhood name of Bharata, the legendary king of Hindu mythology. \u003ci\u003eSarva \u003c\/i\u003eis a Sanskrit word derived from \u003ci\u003esaru\u003c\/i\u003e, meaning ‘arrow’(Johnson, 2010, ‘Sarva’), with the name translated to mean “subduer of all”(Chaitanya, 2009, p. 192 ). Bharata in Hindu mythology is considered the prototypical ruler, often viewed as the precursor of all of Indian culture (Johnson, 2010, ‘Bharata’). Born from the union of King Dushyanta and Shakuntala, Sarvadamana is described in canto 74 of the \u003ci\u003eMahabharata \u003c\/i\u003eas having pearl-like teeth and shining hair, and was considered strong enough to overcome lions, tigers, bears, bison, elephants from the age of six, riding and chasing them for sport (Mahabharata\u003ci\u003e, \u003c\/i\u003e\u003ci\u003e\u003c\/i\u003e‘Canto 74’). Sarvadamana is depicted on the bowl with a long shaped object held aloft over his hand while a lioness cowers before him in a thicket. Under his arm is her lion cub, indicating that this activity is an example of Sarvadamana chasing animals for his own amusement. On the bowl Sarvadamana is portrayed with his hair loose, bare-chested, wearing a chain necklace with three beads and a pair of trousers fashioned from cross-hatched incisions. This image and other depictions around the bowl replicate paintings by the famous Indian artist Raja Ravi Varma. The paintings depict scenes from the play \u003ci\u003eShakuntala, \u003c\/i\u003ewritten by the renowned Classical Sanskrit poet Kalisada (4th-5th century). \u003ci\u003eShaakuntala\u003c\/i\u003e is one of the canonical plays of ancient India and is considered to be of immense importance (Zimmermann, 2008, p. 303). Ravi Varma was born in the village of Kilimanoor to a noble feudal family with connections to the royal house of Travancore and was the most celebrated academic painter of 19th century India. Portraying himself as a gentleman autodidact, Ravi Varma was a specifically Victorian yet Indian nationalist painter who fused perspective and European technique, composition and medium with Indian subjects (Kapur, 2007, pp. 145-146). As a member of this particular royal household, Ravi Varma moved to the palace of Travancore and was supported by the patronage of Maharaja Ayilyam Thirunal (1832-1880). Britishportrait painters and prints of European neo-classical paintings were within the palace and Ravi Varma fused this European influence with a traditional education in the classics of Sanskrit, Malayalam and Kathakali literature (Guha Thakurta, 1991, p. 93). The composition of Sarvadama as depicted on the bowl is near-identical to the character’s composition within Ravi Varma’s painting. Differences are merely stylistic, with Ravi Varma depicting Sarvadama nude while on the bowl he wears trousers and a different necklace. On the bowl, the thicket and leaves are emphasised more than in the painting, while the reverse is the case concerning depictions of rocks. Other imagery on the bowl which correspond with paintings by Ravi Varma are two representations of portraying Sarvadamana’s mother Shakuntala, the titular character of Kalisada’s play. One image features her sitting on a rocky terrain beneath a tree and the other corresponds with a painting of Shakuntala with her hand behind her head and her eyes raised, distraught. The first is titled \u003ci\u003eShakuntala\u003c\/i\u003e\u003ci\u003e\u003c\/i\u003e\u003ci\u003e’\u003c\/i\u003e\u003ci\u003e\u003c\/i\u003e\u003ci\u003es Impending \u003c\/i\u003e\u003ci\u003e\u003c\/i\u003e\u003ci\u003eCalamity. \u003c\/i\u003eIn this painting, Shakuntala is seated beneath a tree, her hands together on her lap and legs stretched before her with her feet crossed. Mountains are behind Shakuntala and a figure stands in the background behind her. Shakuntala is positioned in a three-quarter view. These aspects also feature in the version on the bowl. The differences are the type of tree, with specifically a palm tree represented in the painting while the tree on the bowl is ambiguous. Other differing stylistic components on the bowl include Shakuntala’s loose hair and being positioned more definitely in slide profile, depending on the viewpoint of the spectator. In the other representation of Shakuntala on the bowl, she holds her hand aloft, while her other hand rests on her leg. The other leg is propped up and bent. This compositional structure can be seen in Ravi Varma’s other depiction of \u003ci\u003eShakuntala\u003c\/i\u003e\u003ci\u003e\u003c\/i\u003e\u003ci\u003e’\u003c\/i\u003e\u003ci\u003e\u003c\/i\u003e\u003ci\u003es Impending Calamity. \u003c\/i\u003eDifferences include the patterns on her clothing, with the clothing on the painting being plain. Furthermore, the trees depicted on the bowl are palm trees, whereas those depicted in the painting are generic. The representations which surround the central sections of the bowl are surrounded by elegant, undulating borders. On each of the borders are depictions of Durga, the most prominent \u003ci\u003eDevi\u003c\/i\u003e (goddess). Described as a ‘fierce’ \u003ci\u003eDevi\u003c\/i\u003e, Durga was the warrior goddess who destroyed the demon buffalo \u003ci\u003eMahisasura \u003c\/i\u003e(Johnson, 2010, ‘Durga’)\u003ci\u003e.\u003c\/i\u003e She is typically depicted with multiple arms and riding upon a lion’s back. On the bowl, she and the lion are supported by a young kneeling child beneath architectural capitals. This beautiful bowl is a magnificent example of Pune repoussé silverwork, an exceptional 19th century work which elaborately depicts scenes inspired by the paintings of a celebrated Indian artist, Raja Ravi Varma, who in turn based these paintings on a famous play by the esteemed ancient Classical poet Kalisada. Based on these works and on the childhood of a major figure of the principal Hindu text, the \u003ci\u003eMahabatra\u003c\/i\u003e, this resplendent Pune bowl is museum worthy in its quality and singularity and would be of great interest to any collector, expert or enthusiast of classic 19th century Indian silver and decorative arts, as well as admirers of Ravi Varma and the work of Kalisada.Bibliography: \u003ci\u003eMahabharata, \u003c\/i\u003e\u003ci\u003e\u003c\/i\u003e‘Canto 74’,\u0026lt;https:\/\/ia803400.us.archive.org\/7\/items\/the-complete-mahabharata\/The%20Complete%20Mahabharata%20.pdf\u0026gt; [accessed 4th August 2025]. Satya Chaitanya,\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e‘The Willing Woman: On Women and Will Power’\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e, \u003ci\u003eIndian Literature, \u003c\/i\u003eV ol. 53, No. 5,\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e(September\/ October 2009), 183-198\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eTapati Guha Thakurta,\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e‘Women as ‘Calendar Art’ Icons: Emergence of Pictorial Stereotype in Colonial\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eIndia, \u003ci\u003eEconomic and Political Weekly, \u003c\/i\u003eV ol. 26, No. 43 (Oct, 26, 1991), 91-99\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eW.J. Johnson, \u003ci\u003eOxford Dictionary of Hinduism, \u003c\/i\u003e(Oxford: Oxford University Press, 2010)\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eGeeta Kapur, \u003ci\u003eWhen Was Modernism, Essays on Contemporary Cultural Practice in India, \u003c\/i\u003e(New Delhi:\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eTulika, 2007)\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eWynyard RT Wilkinson, \u003ci\u003eIndian Silver 1858-1947, Silver from the Indian sub-continent and Burma made\u003c\/i\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003ci\u003eby local craftsmen in Western forms, \u003c\/i\u003e(London: Wynyard RT Wilkinson, 1999)\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eFrancis Zimmermann,\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e‘Sakuntala malayalie’\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e, \u003ci\u003eL’Homme, \u003c\/i\u003eno. 185\/186, \u003ci\u003eL’Anthropologue et le\u003c\/i\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003ci\u003eContemporain \u003c\/i\u003e(Jan-Jun 2008), 301-312\u003c\/p\u003e","published_at":"2026-08-11T11:31:01+01:00","created_at":"2026-08-11T11:31:00+01:00","vendor":"Joseph Cohen Antiques","type":"19th century Pune, India","tags":["Indian Silver"],"price":0,"price_min":0,"price_max":0,"available":false,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":46528507117718,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":null,"requires_shipping":true,"taxable":true,"featured_image":null,"available":false,"name":"Monumental solid silver repoussé bowl, 19th century Pune, India.","public_title":null,"options":["Default Title"],"price":0,"weight":0,"compare_at_price":null,"inventory_management":"shopify","barcode":null,"requires_selling_plan":false,"selling_plan_allocations":[],"quantity_rule":{"min":1,"max":null,"increment":1}}],"images":["\/\/www.josephcohenantiques.com\/cdn\/shop\/files\/2_e6d705e4-e3f9-416d-bdb8-36930934cdf7.jpg?v=1786381174","\/\/www.josephcohenantiques.com\/cdn\/shop\/files\/3_fdafda64-64b5-4b25-81fa-dea8a0eb3cdd.jpg?v=1786381174","\/\/www.josephcohenantiques.com\/cdn\/shop\/files\/4_12b348ba-9ba2-43ea-9733-6b173d31b42e.jpg?v=1786381174","\/\/www.josephcohenantiques.com\/cdn\/shop\/files\/5_a37de866-6a9f-40bf-94c4-7c72b15b4e10.jpg?v=1786381174","\/\/www.josephcohenantiques.com\/cdn\/shop\/files\/6_3c2cfa9d-1481-4e4b-b3eb-8252644e6989.jpg?v=1786381175","\/\/www.josephcohenantiques.com\/cdn\/shop\/files\/7.jpg?v=1786381174"],"featured_image":"\/\/www.josephcohenantiques.com\/cdn\/shop\/files\/2_e6d705e4-e3f9-416d-bdb8-36930934cdf7.jpg?v=1786381174","options":["Title"],"media":[{"alt":null,"id":32915025952918,"position":1,"preview_image":{"aspect_ratio":1.0,"height":2052,"width":2052,"src":"\/\/www.josephcohenantiques.com\/cdn\/shop\/files\/2_e6d705e4-e3f9-416d-bdb8-36930934cdf7.jpg?v=1786381174"},"aspect_ratio":1.0,"height":2052,"media_type":"image","src":"\/\/www.josephcohenantiques.com\/cdn\/shop\/files\/2_e6d705e4-e3f9-416d-bdb8-36930934cdf7.jpg?v=1786381174","width":2052},{"alt":null,"id":32915025985686,"position":2,"preview_image":{"aspect_ratio":1.0,"height":2052,"width":2052,"src":"\/\/www.josephcohenantiques.com\/cdn\/shop\/files\/3_fdafda64-64b5-4b25-81fa-dea8a0eb3cdd.jpg?v=1786381174"},"aspect_ratio":1.0,"height":2052,"media_type":"image","src":"\/\/www.josephcohenantiques.com\/cdn\/shop\/files\/3_fdafda64-64b5-4b25-81fa-dea8a0eb3cdd.jpg?v=1786381174","width":2052},{"alt":null,"id":32915026018454,"position":3,"preview_image":{"aspect_ratio":1.0,"height":2052,"width":2052,"src":"\/\/www.josephcohenantiques.com\/cdn\/shop\/files\/4_12b348ba-9ba2-43ea-9733-6b173d31b42e.jpg?v=1786381174"},"aspect_ratio":1.0,"height":2052,"media_type":"image","src":"\/\/www.josephcohenantiques.com\/cdn\/shop\/files\/4_12b348ba-9ba2-43ea-9733-6b173d31b42e.jpg?v=1786381174","width":2052},{"alt":null,"id":32915026051222,"position":4,"preview_image":{"aspect_ratio":1.0,"height":2052,"width":2052,"src":"\/\/www.josephcohenantiques.com\/cdn\/shop\/files\/5_a37de866-6a9f-40bf-94c4-7c72b15b4e10.jpg?v=1786381174"},"aspect_ratio":1.0,"height":2052,"media_type":"image","src":"\/\/www.josephcohenantiques.com\/cdn\/shop\/files\/5_a37de866-6a9f-40bf-94c4-7c72b15b4e10.jpg?v=1786381174","width":2052},{"alt":null,"id":32915026083990,"position":5,"preview_image":{"aspect_ratio":1.0,"height":2052,"width":2052,"src":"\/\/www.josephcohenantiques.com\/cdn\/shop\/files\/6_3c2cfa9d-1481-4e4b-b3eb-8252644e6989.jpg?v=1786381175"},"aspect_ratio":1.0,"height":2052,"media_type":"image","src":"\/\/www.josephcohenantiques.com\/cdn\/shop\/files\/6_3c2cfa9d-1481-4e4b-b3eb-8252644e6989.jpg?v=1786381175","width":2052},{"alt":null,"id":32915026116758,"position":6,"preview_image":{"aspect_ratio":1.0,"height":2052,"width":2052,"src":"\/\/www.josephcohenantiques.com\/cdn\/shop\/files\/7.jpg?v=1786381174"},"aspect_ratio":1.0,"height":2052,"media_type":"image","src":"\/\/www.josephcohenantiques.com\/cdn\/shop\/files\/7.jpg?v=1786381174","width":2052}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp class=\"p1\"\u003eMonumental solid silver repoussé bowl, depicting the childhood of Sarvadamana with some images derived from Raja Ravi Varma’s paintings for the Kalidasa play ‘Shakuntala’, 19th century Pune, India\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis exquisite, monumental silver bowl was produced in the city of Pune, south east of Bombay. This stupendous bowl is of exceptionally high quality, decorated extensively with protruding imagery, floral motifs and multiple figures of Hindu mythology around its circumference. This manner of Pune silver corresponds to bold designs of repoussé, a metalworking technique used to create raised forms on malleable metalware. Pune silver decoration is highly distinctive, the boldness of the silver execution differing in contrast to similar works from Madras (Wilkinson, 1999, pp. 169-170). The top part of the bowl is decorated with eight busts of turbaned or hatted men, with the sections between them containing elaborate floral motifs. The most important aspects of the bowl are eight scenes from the life of or are pertinent to Sarvadamana portrayed around the bowl, some of which correspond to Raja Ravi Varma’s(1848-1906) paintings for the ancient Kalisada play \u003ci\u003eShakuntala\u003c\/i\u003e. The lower section of the bowl’s circumference is lavishly decorated with depictions of serpents twined around small dogs. The base of the bowl portrays a magnificent peacock, an animal pertinent to multiple Hindu deities. This spectacular, large bowl portrays numerous figures from the \u003ci\u003eMahabharata\u003c\/i\u003e, primarily depicting the scenes concerning Sarvadamana and his mother Shakuntala. Sarvadamana was the childhood name of Bharata, the legendary king of Hindu mythology. \u003ci\u003eSarva \u003c\/i\u003eis a Sanskrit word derived from \u003ci\u003esaru\u003c\/i\u003e, meaning ‘arrow’(Johnson, 2010, ‘Sarva’), with the name translated to mean “subduer of all”(Chaitanya, 2009, p. 192 ). Bharata in Hindu mythology is considered the prototypical ruler, often viewed as the precursor of all of Indian culture (Johnson, 2010, ‘Bharata’). Born from the union of King Dushyanta and Shakuntala, Sarvadamana is described in canto 74 of the \u003ci\u003eMahabharata \u003c\/i\u003eas having pearl-like teeth and shining hair, and was considered strong enough to overcome lions, tigers, bears, bison, elephants from the age of six, riding and chasing them for sport (Mahabharata\u003ci\u003e, \u003c\/i\u003e\u003ci\u003e\u003c\/i\u003e‘Canto 74’). Sarvadamana is depicted on the bowl with a long shaped object held aloft over his hand while a lioness cowers before him in a thicket. Under his arm is her lion cub, indicating that this activity is an example of Sarvadamana chasing animals for his own amusement. On the bowl Sarvadamana is portrayed with his hair loose, bare-chested, wearing a chain necklace with three beads and a pair of trousers fashioned from cross-hatched incisions. This image and other depictions around the bowl replicate paintings by the famous Indian artist Raja Ravi Varma. The paintings depict scenes from the play \u003ci\u003eShakuntala, \u003c\/i\u003ewritten by the renowned Classical Sanskrit poet Kalisada (4th-5th century). \u003ci\u003eShaakuntala\u003c\/i\u003e is one of the canonical plays of ancient India and is considered to be of immense importance (Zimmermann, 2008, p. 303). Ravi Varma was born in the village of Kilimanoor to a noble feudal family with connections to the royal house of Travancore and was the most celebrated academic painter of 19th century India. Portraying himself as a gentleman autodidact, Ravi Varma was a specifically Victorian yet Indian nationalist painter who fused perspective and European technique, composition and medium with Indian subjects (Kapur, 2007, pp. 145-146). As a member of this particular royal household, Ravi Varma moved to the palace of Travancore and was supported by the patronage of Maharaja Ayilyam Thirunal (1832-1880). Britishportrait painters and prints of European neo-classical paintings were within the palace and Ravi Varma fused this European influence with a traditional education in the classics of Sanskrit, Malayalam and Kathakali literature (Guha Thakurta, 1991, p. 93). The composition of Sarvadama as depicted on the bowl is near-identical to the character’s composition within Ravi Varma’s painting. Differences are merely stylistic, with Ravi Varma depicting Sarvadama nude while on the bowl he wears trousers and a different necklace. On the bowl, the thicket and leaves are emphasised more than in the painting, while the reverse is the case concerning depictions of rocks. Other imagery on the bowl which correspond with paintings by Ravi Varma are two representations of portraying Sarvadamana’s mother Shakuntala, the titular character of Kalisada’s play. One image features her sitting on a rocky terrain beneath a tree and the other corresponds with a painting of Shakuntala with her hand behind her head and her eyes raised, distraught. The first is titled \u003ci\u003eShakuntala\u003c\/i\u003e\u003ci\u003e\u003c\/i\u003e\u003ci\u003e’\u003c\/i\u003e\u003ci\u003e\u003c\/i\u003e\u003ci\u003es Impending \u003c\/i\u003e\u003ci\u003e\u003c\/i\u003e\u003ci\u003eCalamity. \u003c\/i\u003eIn this painting, Shakuntala is seated beneath a tree, her hands together on her lap and legs stretched before her with her feet crossed. Mountains are behind Shakuntala and a figure stands in the background behind her. Shakuntala is positioned in a three-quarter view. These aspects also feature in the version on the bowl. The differences are the type of tree, with specifically a palm tree represented in the painting while the tree on the bowl is ambiguous. Other differing stylistic components on the bowl include Shakuntala’s loose hair and being positioned more definitely in slide profile, depending on the viewpoint of the spectator. In the other representation of Shakuntala on the bowl, she holds her hand aloft, while her other hand rests on her leg. The other leg is propped up and bent. This compositional structure can be seen in Ravi Varma’s other depiction of \u003ci\u003eShakuntala\u003c\/i\u003e\u003ci\u003e\u003c\/i\u003e\u003ci\u003e’\u003c\/i\u003e\u003ci\u003e\u003c\/i\u003e\u003ci\u003es Impending Calamity. \u003c\/i\u003eDifferences include the patterns on her clothing, with the clothing on the painting being plain. Furthermore, the trees depicted on the bowl are palm trees, whereas those depicted in the painting are generic. The representations which surround the central sections of the bowl are surrounded by elegant, undulating borders. On each of the borders are depictions of Durga, the most prominent \u003ci\u003eDevi\u003c\/i\u003e (goddess). Described as a ‘fierce’ \u003ci\u003eDevi\u003c\/i\u003e, Durga was the warrior goddess who destroyed the demon buffalo \u003ci\u003eMahisasura \u003c\/i\u003e(Johnson, 2010, ‘Durga’)\u003ci\u003e.\u003c\/i\u003e She is typically depicted with multiple arms and riding upon a lion’s back. On the bowl, she and the lion are supported by a young kneeling child beneath architectural capitals. This beautiful bowl is a magnificent example of Pune repoussé silverwork, an exceptional 19th century work which elaborately depicts scenes inspired by the paintings of a celebrated Indian artist, Raja Ravi Varma, who in turn based these paintings on a famous play by the esteemed ancient Classical poet Kalisada. Based on these works and on the childhood of a major figure of the principal Hindu text, the \u003ci\u003eMahabatra\u003c\/i\u003e, this resplendent Pune bowl is museum worthy in its quality and singularity and would be of great interest to any collector, expert or enthusiast of classic 19th century Indian silver and decorative arts, as well as admirers of Ravi Varma and the work of Kalisada.Bibliography: \u003ci\u003eMahabharata, \u003c\/i\u003e\u003ci\u003e\u003c\/i\u003e‘Canto 74’,\u0026lt;https:\/\/ia803400.us.archive.org\/7\/items\/the-complete-mahabharata\/The%20Complete%20Mahabharata%20.pdf\u0026gt; [accessed 4th August 2025]. Satya Chaitanya,\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e‘The Willing Woman: On Women and Will Power’\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e, \u003ci\u003eIndian Literature, \u003c\/i\u003eV ol. 53, No. 5,\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e(September\/ October 2009), 183-198\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eTapati Guha Thakurta,\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e‘Women as ‘Calendar Art’ Icons: Emergence of Pictorial Stereotype in Colonial\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eIndia, \u003ci\u003eEconomic and Political Weekly, \u003c\/i\u003eV ol. 26, No. 43 (Oct, 26, 1991), 91-99\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eW.J. Johnson, \u003ci\u003eOxford Dictionary of Hinduism, \u003c\/i\u003e(Oxford: Oxford University Press, 2010)\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eGeeta Kapur, \u003ci\u003eWhen Was Modernism, Essays on Contemporary Cultural Practice in India, \u003c\/i\u003e(New Delhi:\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eTulika, 2007)\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eWynyard RT Wilkinson, \u003ci\u003eIndian Silver 1858-1947, Silver from the Indian sub-continent and Burma made\u003c\/i\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003ci\u003eby local craftsmen in Western forms, \u003c\/i\u003e(London: Wynyard RT Wilkinson, 1999)\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eFrancis Zimmermann,\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e‘Sakuntala malayalie’\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e, \u003ci\u003eL’Homme, \u003c\/i\u003eno. 185\/186, \u003ci\u003eL’Anthropologue et le\u003c\/i\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003ci\u003eContemporain \u003c\/i\u003e(Jan-Jun 2008), 301-312\u003c\/p\u003e"}