Bust Possibly of an Indian Mukhalinga; 19th century.

Bust Possibly of an Indian Mukhalinga; 19th century.
Low silver.
Measurements. 30 x 14 x 18 cm.
Weight: 900 g.
This bust, modeled in low silver and with a surface partially worn by the passage of time, represents a serene and hieratic male face, probably identified as a Mukhalinga, a symbolic form of worship to the god Shiva in the Hindu tradition. The Mukhalinga , literally "linga with a face", combines the aniconic form of the lingam with human features embodying the divine manifestation. Its ritual function was associated with the veneration of the generative and cosmic principle of Shiva, merging the abstract and the anthropomorphic in the same sacred image.
The face of the bust shows a solemn and balanced expression: the arched eyebrows, the almond-shaped eyes and the thin mustache reveal a stylization that responds to the sculptural canons of late Indian art, where spiritual serenity is expressed through formal symmetry and gestural restraint. In the center of the forehead is the third eye, symbol of transcendental knowledge and the inner vision of the god.
The headdress, worked with a meticulous geometric embossing in a herringbone pattern, reinforces the idea of divinity and spiritual authority. This element, of clear regional influence, may refer both to a ceremonial turban and to the abstraction of the jata-mukuta (Shiva's crown of tangled hair), in a stylistic synthesis typical of 19th century devotional art, where local traditions reinterpret classical models.
The metallic surface, with its dark patina and irregular luster, gives the piece an almost archaic quality, suggesting ritual use and devotional manipulation over time. In this sense, the bust not only represents a deity, but also functions as an object of spiritual mediation, a repository of offerings and prayers in domestic or Templar sanctuaries.
From an aesthetic perspective, this work combines the symbolic austerity of Indian religious art with a refined artisanal sensibility, typical of the 19th century, when local workshops produced votive images both for liturgical use and for aristocratic collections.