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| | | | In India, jewelry is not an incidental accessory that one tosses on at the last moment, with little thought. Wearing jewelry inspired by India tradition is an integral part of culture, beauty, fashion and history. Handcrafted Indian jewelry is inspired by beliefs, nature and the craftsmanship and imagination of the artisan who is designing the piece. Nature greatly inspires Indian Jewelers, who design items that look like Hood of a cobra, rice grains, cucumber seeds. A favorite motif is birds or pipal leaf. |  | Pipal Leaf Pendant: Kutch, Gujarath, early 20th century Indians revere Pipal as the Tree of Life & Enlightenment. Under this tree no business can be done as every moving leaf is a witness when lies are told, and without lies trade cannot be carried out. | | | | Metaphors of Nature: Jewellery forms, designs and terminology contributed in many respect to the mystical allure of ornaments. Kundala, ratnakundala, sitahar, kanchanmala, mohanamala, kinkini, tiru-makaram, srichhandam- these names roll off the tongue like beautiful poetry, rich in imagery, invoking visions of beautiful flowers, the bounty of nature, sweet scents and tinkling music. Not only was the form drawn from nature, but all that was inherent in the form was then ascribed to the finished ornament: its beauty, its delicacy, its fragrance, its strength and power, its ability to deflect danger, give courage, convey valour and provide protection. A necklace simulating jasmine bud was intended to impart, its delicate beauty, heady perfume, and implicit sexuality to the wearer. | | Flora and fauna are an inseparable aspect of the Indian Jewellery design. Even ordinary every food like mango, garlic pod, jackfruit, wheat, clove, rice huts, rice grains are all found in jewellery design. |  | Champakali Necklace Rajasthan; 19th century Buds of champa flowers are rendered in enamel and gold and embellished with uncut diamonds. | | The love for nature and colour made purely geometrical designs rare. The preference was undoubtedly for the soft and gentle curvature of floral motifs. The love for colour as seen in nature is reflected in the use of colours in enameling , the juxtaposition of diamonds, rubies, emeralds and sapphires and in the simulation of colour in profuse floral decorations of monochromatic gold ornaments. In the meenakari tradition, even the metaphors for enamel shades were borrowed from the vocabulary of gems, which in turn drew its inspiration from nature. Like the ruby, enamel reds aspired to the deep crimson of Khoon-e- kabouter (pigeon's blood); the ideal shade of enamel green was , as with emeralds, tote ka par ( parrot's wings); garden-e-taus (the peacock's neck) simulated the lustrous blue of sapphire. |  | Rajasthan; early 20th century Courage and Valour traits of a lion made it a popular motif. The heaviness of the traditional kada's reflected in the solid gold lion- head terminals, is juxtaposed with western style, spreading floral motifs in hollowed cutwork gold set with tiny diamonds. | | Worship and propitiation of the elements such as the sun and moon and the planets were absorbed into jewellery design. The crescent moon- the emblem of Mother Godess Shakthi, symbolised female power. Similarly, supreme solar motif, the sun, a symbol of male strength, was among the most popular forms used for ornaments and decorations. The circular form of earring, is a direct association of solar symbolism and denotes knowledge and life force. |  | The Diamond Necklace Rajasthan, Udaipur;19th century The Diamond set necklace is enameled with solar symbols. The sun represents creation; it is the source of light, knowledge, energy and life. "All that exists was born from the sun. Of what is and has been and is to be, and what moves or remains still, the sun alone is the source and the end." | | Ornaments function as a canvas for the narration of myths and legends. Using the highly effective reposses technique, the craftsman was able to transform a thin sheet of gold, into canvass rendering in great detail, minute elements of a story board. This is especially evident in the nakashu-velai jewellery of south India, which renders in gold. Myths and legends associated with the many deities of the Hindu pantheon. The principal character is set amidst a rich design of foliage, scrolling vines and flower motifs. |  | Gowrishankaram Pendant South India, Chettinad;19th century Sheet gold worked in the repose technique becomes a veritable canvas for the narration of myths and legends. Kartikeya, (son of Shiva) is seated on his vehicle, peacock and is flanked by his two consorts and rearing lions. | | Regards Rajiv Mehta Surat Diamond Jewellery |  |
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