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Tiger-Head Palanquin Finial, Brass, Deccan, Possibly Karnataka, Southern India, c.a 1870-1890.

REGISTERED ANTIQUITY – NON-EXPORTABLE ITEM.

 

Object Detail

 

This tiger-head palanquin finial comes from the Deccan region and is attributed to the period ca. 1870–1890 C.E. It is a brass zoomorphic ornament and is designed for a wooden pole of a palanquin, at the end of the pole. It is both protective and decorative. It is distinguished by a sculpted tiger head, which makes the most prominent terminal of the finial, and a hollow cylindrical sleeve attached to the pole.

 

The finial consists of three main zones: the tiger head, collar rings and an engraved sleeve. The tiger’s head is stylized, it has a wide muzzle, its jaws are open, revealing rows of teeth and fangs, and its almond-shaped eyes express authority. The floral ornament is a stylized rosette, located on the forehead, which is a symbol of sacredness within Indian artistic and religious traditions, but it also converts the tiger into a guardian.

 

The cylindrical sleeve, covered with engraved scales, a sign of the quality and attention to detail of the craftsmanship, was made to hold the pole of the palanquin. It was made by the lost-wax process -“cire perdue” in French, the most famous technique of South India, passed down through generations of bronze-casting communities in the following centuries. In this finial the tiger symbolically carries important meanings embedded in the cultural narrative of the region.

 

It is a symbol of royalty and divine protection and is associated with Goddess Durga and other deities. It has been used in the royal insignia of a number of dynasties such as the Cholas and under the rule of Tipu Sultan in Mysore. The tiger’s iconography is one of strength, authority, and martial prowess and places the finial within a rich South Indian iconographic tradition. Even after the death of Tipu Sultan, this finial remained as a symbol of prestige and status used to display power and importance during ceremonial processions.

 

This tiger-head palanquin finial, dated to ca. 1870–1890 C.E., is an example of a visual tradition initiated by Tipu Sultan and demonstrates the social dynamics of Karnataka and the Deccan in the nineteenth century. The tiger is associated with prestige, power and aristocratic status, and this finial, placed prominently on a ceremonial palanquin, transmitted these associations to observers in processions.

 

Before the age of railways and motor vehicles, Palanquins were status symbols for kings, nobles and rich women. They were also used to transport deities during religious festivals, indicating that they were more than a means of transport, but a symbol of authority, identity and prestige. The materials and design of the palanquin, such as tiger-head finial, were important to this public declaration of status in society.

 

The finial design was intentionally chosen as a tiger. Historical records show that the images of fierce animals, like tigers, and mythical animals, like yali and makara, was often associated with male aristocrats and royal patrons, displaying the ideals of courage and martial prowess.

 

Floral motifs like lotuses were more common on palanquins for women, symbolizing graceand auspiciousness as against the floral motifs. The tiger-head finial’s fierce face and visible fangs clearly connote male aristocratic representation, while the forehead rosette suggests an additional layer of sacred protection.

 

Provenance

 

From a Private Collection in Mumbai, India.

 

Condition

 

Good condition with minor wear.

 

Dimension

 

Length – 35 cm.

 

Literature Comparison

 

1.Brittlebank, Kate. Tiger: The Life of Tipu Sultan. New Delhi: Juggernaut Books, 2016.

 

2.Davis, Richard H. Lives of Indian Images. Delhi: Motilal Banarsidass, 1999.

 

3.Google Arts & Culture. “Human Powered Sedans: The Story of Palanquins.” Accessed June 1, 2026. https://artsandculture.google.com/story/ZQUx535Ha2n-Kw.

 

4.Haidar, Navina Najat, and Marika Sardar, eds. Sultans of Deccan India, 1500–1700: Opulence and Fantasy. New York: The Metropolitan Museum of Art, 2015.

 

5.Jayakar, Pupul, and John Irwin. Textiles and Ornaments of India: A Selection of Designs. Edited by Monroe Wheeler. New York: The Museum of Modern Art, 1956.

 

6.Michell, George. Architecture and Art of Southern India: Vijayanagara and the Successor States, 1350–1750. The New Cambridge History of India, Vol. I, no. 6. Cambridge: Cambridge University Press, 1995.

 

7.The Cleveland Museum of Art. “Naga Finial.” Accessed June 2, 2026. https://www.clevelandart.org/print/art/1987.14.2.

 

8.The Metropolitan Museum of Art. The Metropolitan Museum of Art Bulletin. New Series, Vol. 54, No. 2. Recent Acquisitions: A Selection, 1995–1996. New York: The Metropolitan Museum of Art, Fall 1996.

 

9.The Trustees of the British Museum. “Palanquin (Metal Terminal to a Carrying Pole).” Museum no. 2017,3038.49. 18th–19th century. Accessed May 31, 2026. https://www.britishmuseum.org/collection/object/A_2017-3038-49.

 

1o.Victoria and Albert Museum. “Palanquin Hook.” Victoria and Albert Museum: Explore the Collections. Accessed June 2, 2026. https://collections.vam.ac.uk/item/O24972/palanquin-hook-sculpture-unknown/.

 

11.Victoria and Albert Museum. “Palanquin Pole End.” Victoria and Albert Museum: Explore the Collections. Accessed June 2, 2026. https://collections.vam.ac.uk/item/O34427/palanquin-pole-end-unknown/.

 

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