Shivalingam with Nandi

(inclusive of taxes)

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Size (WxDxH): 6.5 x 5.7 x 13 inches
Medium: Brass


This is a beautiful Deccan Shiva lingam, with a small Nandi, and snake (naga) seated on a square plinth. Nandi is sitting on a protruding shelf facing the lingam. Over the lingam is a large protective hood of a cobra (snake) with the tail coiled around the lingam. Some engraving of snake scales on the coil and hood remain though there is wearing from use. On either side of the hood are also engraved S shapes, which depict the natural markings of the cobra. The snake’s tongue protrudes from its mouth as if it is hissing for protection, and above the head is a lotus bud finial. The hood itself separates from the base for portability and ease of cleaning. Engraved around the top of the plinth are repeating toranam motifs.
A lingam, sometimes referred to as linga or Shiva linga, is an abstract or aniconic representation of the deity Shiva. Shiva is one of the principal deities of Hinduism. Nandi is the gate-guardian deity of Kailasa, the home of Lord Shiva.
  • ABOUT Deccan Metalware

    “Metal has always been to India, what ceramics has been to China,” says Mark Zebrowski, author of the 1997 book “Silver, Gold and Bronze from Mughal India”, and one of the leading global experts for Deccan metalwork. Deccan metalware is characterized by a unique blend of South Indian artistic traditions, combined with Persian and Mughal influences.

    The Deccan Plateau is a large plateau in western and southern India, covering significant parts of Telangana, Maharashtra, Karnataka, Andhra Pradesh, Kerala and Tamil Nadu. The Deccan produced some of the major dynasties in Indian history, of which one was the Deccan Sultanate - five late-medieval Indian kingdoms on the Deccan Plateau between the Krishna River and the Vindhya Range, that were ruled by Muslim dynasties: namely Ahmadnagar, Berar, Bidar, Bijapur, and Golconda.

    In the 12th century, Turkish emirs from Central Asia and Afghanistan gained control of the land from Gujarat across to Bengal and then later the Deccan or southern lands. And so was born the Indo-Islamic style, looking to the west with Persian influences, yet intertwining local practices and innovation. “India interpreted, but seldom imitated; and sometimes her interpretations not only surpassed, but altered, her models,” according to Zebrowski. Although the Sultanate period was the beginning of this style, it was not until the 14th century that a full-blown Indo-Islamic vision appeared and set the tone for most later Indo-Islamic art.

    The second important development of this style was the Mughal invasion. By 1700, the Mughal empire included all of the Deccan, and patronage of the arts grew hugely.  Metalwork always reigned supreme among the decorative arts at court, and combined well with the long Indian history of working in brass, bronze, and copper, dating back to first century BC.

    This combination, Zebrowski says, produced “a confrontation of two very different visions - namely the ethereal lightness of the Muslim arabesque with the perennial sculptural qualities of the Indian approach” and this is what it gives it “its rare power”. As the craftsmen working for both Hindus and Muslims were probably the same, a common idiom was formed with an emphasis on flowers for Muslims and figures for Hindus. “Such mingling of Hindu and Muslim sensibilities gave Mughal (sic Deccan) art rare formal strengths and the ability to endure,” argues Zebrowski.  

    Deccan metalware specifically, while showcasing the same combination as the Mughal pieces did – namely the influence of the abstraction of the Middle East with the plasticity of India - had its own, much more luxurious, and opulent style. “Deccani objects bristle with energy. We are reminded of the opulent decorative sense of Deccani painters, who designed the figures on the best of these metal pieces, and ultimately of the luxuriance of Hindu South Indian ornament, fundamentally different from that of the north,” says Mark Zebrowski.

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