Provenance:
Collection of George Sheridan (1923-2008)
At the center of the talam is an elegantly-incised purnaghata, or vase of plenty. Rising from the vessel, scrolling foliage spreads symmetrically across a circular medallion, its finely-engraved lines standing in subtle contrast to the broad undecorated surface surrounding it. Although restrained in execution, the design creates a clear visual focus within the expansive interior of the tray.
The central medallion is enclosed by concentric decorative bands that alternate beaded borders with repeating triangular motifs before giving way to the plain basin and shallow, slightly faceted rim. These carefully-proportioned registers organize the composition without overwhelming it, allowing the engraved ornament to stand out against the smooth bronze surface.
The purnaghata originated in Indian art as an auspicious emblem of abundance and prosperity and was widely adopted throughout Southeast Asia. On Javanese ritual vessels such as this example, the motif reflects the enduring influence of Indic visual traditions while demonstrating its adaptation within the artistic language of medieval Java.
Compare a very similar talam in Martin Lerner and Steven Kossak, The Lotus Transcendent: Indian and Southeast Asian Art from the Samuel Eilenberg Collection, The Metropolitan Museum of Art, New York, 1991, cat. no. 179.