DHAKA SILVERWARE

An elaborately framed filigreed container in the form of a peacock- shaped boat, made at Orissa in the late twentieth century , that found its way into Dhaka. Courtesy: Bangladesh National Museum.

In the 19th century, when Victor Hugo described the whole of Europe as 'leaning towards the East', the Islamic Orient was considered the only place of merit. The East has attracted travellers of all kinds -- scientists, adventurers, aesthetes. These fearless Europeans undertook countless exotic journeys, from the pleasure trips up the Nile to camel-back treks across the stony plains of the Syrian desert. Travel is a wonderful way to debunk myths. A visit to the Islamic world is rewarding today as it was 700 years ago.

By general belief, 'Islamic Art' co notates all arts of the Muslims, whether they be religious or secular. It is basically floral, geometrical, or based on abstract forms. Due to the harmony of design and form, Islamic art has a certain splendour. Due to the lack of figurative work -- in art that is not influenced by Persian art-- it develops a form that uses arabesques, calligraphy, and interwoven floral and geometrical patterns.

A profusely filigreed 'Attar dan' made in Dhaka in the nineteenth century. Courtesy: Bangladesh National Museum.

Fine craftsmanship is the keynote of Islamic art. Islamic art's influence stretches from North Africa to Southeast Asia, depending on the skill and the integrity of the creative person, whether it be a renowned painter, calligrapher, miniature painter, a great silversmith or a famous potter. The mastery of art and craftsmanship handles the well-known lines and forms to the point of last detail. The stress in Islamic art is not art for art's sake. The tradition that persists today, is that Islamic art and architecture is valued in many parts of the Islamic world.
In Dhaka city today, due to the astronomical price of gold, that precious metal is only used to make jewellery. Silver work is seen in jewellery and artifacts. Filigree work often dominates. While the city was once famous for gold and silverware, goldsmiths and silversmiths happen to be few and far between these days. The patrons of silverware, who are the elite of the city, are the rich and prosperous. In I640, Sabastian Manriqe said that Dhaka was a vast hub of trade and commerce, and items were found in abundance. During the Moghul (1608-1764) and British times (1765-1947) gold and silver plate and fine gold and silver setting for precious metals were common.
Dhaka was the centre of silver-work. The art of filigree was finest during the Moghul period. The newly founded political stability attracted craftsmen from all over the Muslim world. Emperor Jehangir writes in his memoire “On the 13 of Tir the place of Ab-pash, the Persian festival in memory of the rain which ended the famine. Thus, the “golab-pash” now used in religious ceremonies, commemorates the ancient Persian myth.” In 'Baharista-i-Ghaibi', a great feast is described in Dhaka. The Dhaka filigree in the Moghul period was fine as human hair. It was widely used by royalty and nobility. To the earlier style is 'mandila', a style which became popular in the time of Emperor Jahangir. Victoria and Albert Museum in London has a large display of this. It could be constructed in various superb, dignified patterns.  

Attar Dan' with intricate filigree work, 19th century. Courtesy: Bangladesh National Museum.

The filigree work in Dhaka, in the Ahsan Manzil and Husaini Dalan was the minute work of the Karmakar brothers, Lakshman, Bhairab Charan, Krishna Charan and Ananda Hari. Interestingly, the patrons were both Hindus and Muslims. The Dhaka filigree work saw a halt after the Partition of British India in 1947 into two countries, when Hindus left for West Bengal. Ahmad Hasan Dani said:”The most remarkable objects are the Pandan, Attardan and Gulab-pash . These crafts were monopolized by the Hindus. Partition had this craft dying.” A small replica of the Taj Mahal, illustrated in Henry Glassie's book, 'Art and Life in Bangladesh' proves that filigree is used in ornamental work. This is seen in Islampur. Dhaka had once ties with Katak in filigree-work, although the patterns and designs were different. These items do continue to exist, but are not as long-lasting. Earlier delicacy, neatness and exquisiteness were the bearings of the Dhaka filigree indicating the devotion behind such perfect piece of workmanship. In 1993 Ramini Mohan Chatarjee wrote “The European ladies were regular customers of the smithies. They bought bracelets, rings, broaches, safety-pins, etc. ”At the beginning of the century Dhaka exported to Calcutta items made of silver. A seven ton Cannon in Murshidabad was made by the blacksmith of Dhaka, in 1637.

The Persian-Islamic, Indo-Islamic Chinese prototypes were seen in East Bengal, as that type of work on metal continued to be used for household reasons. The Hindu metalworkers, continued to use figurative motifs. Although the metal workers of Bihar and Uttar Pradesh similar ornamental items, the non-Bengali workers stayed on in Bangladesh to produce the work that put together their beauty that once had the Urdu–speaking people for patrons. The promotion of tourism brought the need to develop the decorative art of silver. The flowers became elaborate and more natural. All kinds of methods were used to produce these works of art - casting, chasing, engraving, repoussing, embossing, etching, incising and inlaying.