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Posts tagged with Jewellery

FLORAL MOTIFS IN SOUTH INDIAN JEWELRY

April 28, 2014

Kanika Pruthi of Saffronart highlights some of the prevalent plant and flower motifs in South Indian jewelry

NEW YORK: In Indic religions and philosophy reference to plants, fruits and flowers abound signifying the relationship man shares with nature. Since antiquity myths and iconography pertaining to flora and fauna has been a central part of Indian belief systems and their actual use and their reference in present day rituals and faith based practices proves their continued significance in Indian society. Plants and flowers are often time associated with deities, presented as offerings in rituals and symbolically represented in daily life through various means.
South Indian jewelry present a ripe example of the continued reference to plants and flowers in Indian faith systems and the development of intricate motifs laden with meaning, still in use in present day India. Our current exhibition “Jewels from South India” display an array of motifs associated with plants and flowers.
A Jasmine Bud Necklace

A Jasmine Bud Necklace

The jasmine bud necklace, known as mullai arumby malaii, adapts the tender buds of the fragrant flower in its design. The result is a piece of jewelry that conjures images of delicate and prestine creations of nature, the carnal scent of the auspicious flowers with erotic connotations enhancing the beauty of the wearer. There are many myths that chronicle the mystique of this tender flower.
Manga malai necklace

Manga malai necklace

Another common motif in South Indian design is the Manga Malai– the necklace of mangoes. Similar to the persian booti or paisley design, mango tree has long held mythic associations in Indian society. The mango tree is believed to be a wish-fulfilling tree and a symbol of fertility and long life. Mango leaves which are believed to hold protective powers are still used in actual rituals in India, also commonly found strung across the entrance of an house. Stylized motifs of mango have been adapted in South Indian jewelry, lending not only a meaning but decorative elements to the jewelry pattern.
The rudraksha bead is often times adapted in design of beads or used as it is in South Indian jewelry. It is believed to be sacred to Shiva and is commonly worn by both men and women with Shivite affiliations all over India. They are believed to hold the creative energy of Shiva, bestowing the wearer with similar powers. Symbolically the seed is believed to represent Shiva’s eye (Rudra=Shiva & Aksha=Eyes). Myths abound that reference the rudraksha.  One of them tells of how Shiva went into the state of penance for 1000 years in order to destroy evil in the world and when when he finally opened his eyes a drop of his tear on the ground resulted in the germination of the tree bearing the rudraksha fruit. The seeds are considered highly auspicious and are adapted in designs in multiple ways.
Dumroo

Dumroo

A gemset Jhumki or earrings

A gemset Jhumki or earrings

A gemset necklace

A gemset necklace

A closer look at jewels from our collections show the many ways floral motifs are adapted in design- their presence abounds. From three petaled blossoming flowers, to floral vines adapted in design, the significance of rendering plants and flowers in jewelry can be traced back to centuries and continues to the present day- a melange of traditional beliefs and modern practices.

Four Animals You’d Spot In South Indian Jewellery

April 14, 2014

Most already know that animal motifs aren’t included in jewellery simply to beautify. So what do these animals mean? Rashmi looks at how religion and symbolism extend to South Indian finery to form a part of daily life.

 

Animal motifs have been consistently popular down South. I’m not just pulling this truism out of thin air, though. The timing is perfect. The folks at Saffronart Delhi are holding an exhibition, “Jewels from South India” till April 30. For those who know their South Indian jewellery, you’re already familiar with the numerous stylised animals and gods you find on necklaces, earrings, rings, bracelets etc. Today, I’ll be looking at four animals, beginning with…

1. The Peacock

South Indian pendants effortlessly imbibe the motif of the peacock, and it’s not just because of the bird’s beauty and elegance. Talking about why the peacock is so important in Indian culture is almost trite—there’s no dearth of representations and allusions to the bird. In South Indian (especially Tamil) mythology, it is the vahana (vehicle) of Murugan/Kartikeya, the God of war, victory, love and wisdom. Readers familiar with the works of Raja Ravi Verma will recall his paintings of Kartikeya seated on a peacock with his two consorts, Valli and Deivayanai, and of Goddess Saraswati seated, while a peacock looks on. Known to spread its plumage at the start of spring, the peacock also gains metaphorical importance: it symbolises the blossoming of love.

2. The Parrot

In Hindu mythology, the parrot is associated with Lord Kama, the god of love. The bird is found as a motif in South Indian temples. Parrots symbolise fertility and desire—definitely worthy of imbibing in jewellery designs.

3. The Fish

The fish gains significance from the tale of Lord Vishnu’s very first avatar: the matsya. As a giant fish, Lord Vishnu saves Manu, believed to be the creator of mankind in Hinduism, by navigating his ship through a great deluge. After the deluge is over, Manu begins life afresh and propagates the race of humans. The fish is thus seen as an emblem of rebirth. The medieval temple of Koneswaram in Trincomalee, Tamil Nadu, which was destroyed in the 17th century, housed a shrine dedicated to Matsya.

A gowrishankaram pendant flanked by two fish motifs Source: http://www.saffronart.com/fixedjewelry/PieceDetails.aspx?iid=39818&pt=2&eid=3703

A Gowrishankaram Pendant flanked by Two Fish Motifs
Source: http://www.saffronart.com/fixedjewelry/PieceDetails.aspx?iid=39818&pt=2&eid=3703

4. The Elephant

Those who know their Hindu iconography know that the elephant is one of the most revered of animals. Lord Ganapati, the bringer of prosperity, immediately comes to mind. So does Airavat, the vahana of Indra, God of Heaven. Renowned historian and fine art consultant Dr. Usha R. Bala Krishnan, and writer Meera Sushil Kumar note that animals like the elephant are “…quintessential elements of jewellery design particularly in south India….[They are] regarded as an epiphany of God” (Dance of the Peacock: Jewellery Traditions of India, p244). The elephant is linked to royalty, abundance, richness and fertility.

 

These animal motifs are important as religion and symbolic references to romance are often intertwined.  With other motifs, the function is more specific. Fruit and flower motifs are symbolic of romance. Motifs of Gods take on a purely religious function.

More to follow soon, so keep dropping by.

Women’s watches make a strong statement in Geneva

October 19, 2013

Elizabeth Prendiville of Saffronart discusses the new upward trend of female watch designs at the Geneva Watchmaking Grand Prix this year.

New York: In years past men’s watch designs have completely dominated the market for fine timepieces. Specifically, at the Geneva Watchmaking Grand Prix which documents the strongest designs and most pivotal trends of the year in watches. Designers such as Chanel, Chaumet, and Boucheron are among the lush collection of awarded designers. However, this year more award categories are devoted to feminine designs. This could be because more of these ladies’ watches are getting accolades for their beautiful design and function. The feminine finalists for these awards cover four out of ten of the main categories. This is a staggering amount compared to past years.

The most notable women’s watches of the 2013 Grand Prix include interesting aesthetics in partnership with age old traditional crafting and inventive new concepts. The Hermes Pendentif Boule pendant watch has received much attention for achieving this perfect balance. Rather than being adorned on a traditional wrist bracelet, this unique piece, which includes blue alligator leather, is displayed on a long chain rotating freely. In addition to this inventive design work, some featured watches gracefully skirt the line between jewelry pieces and timepieces. Bocheron Ajouree Hera jewellery watch, featuring a fantastical blue peacock made of sapphire and diamond is a perfect example of this. It was shortlisted for the Jewellery Watch Award alongside the Bulgari Jumping Hour Retrograde Minutes jewellery watch, which features a swath of precious colorful gems.

The winners of the 2013 Geneva Watchmaking Grand Prix will be announced at the 13th prize-giving ceremony on November 15th at the Grand Theatre de Geneve. Due to these stellar pieces feminine watches are sure to have a strong hold on the award-winning watch market for years to come. To learn more about the finalists for the 2013 Grand Prix, click here.

The Entrapment of Gods

October 18, 2013

Rashmi Rajgopal of Saffronart tries figuring out what kept the Gods anchored to earth all along.

Mumbai: It’s that day of the week again when you need to pay a visit to your benefactors, Lord Balaji et al.  But today is different: you have a special wish in mind. Your attire is as attention-grabbing as an S.O.S. alert fired from a sinking ship, but that’s the whole point of all the jewellery. You reach your local temple and notice all the dazzling jewellery anchoring the Gods to Earth. Then, out of nowhere, insecurity collides with full force into you. You stare at your feet, suddenly reminded of your mortality and puny insignificance. You gaze dismally at the idols you came to pray to. Their divine magnificence would any day outdo your attire.  Then you forget why you came to the temple in the first place…

“Wish you looked as good as us, eh? No amount of penance will grant you that,” smirks Lord Balaji with Sridevi (l) and Bhudevi (r). Image Credit: http://blogs.houseofgems.com/index.php/2012/11/the-legendary-temple-jewelry-of-india/

“Wish you looked as good as us, eh? No amount of penance will grant you that,” smirks Lord Balaji with Sridevi (l) and Bhudevi (r). Image Credit: http://blogs.houseofgems.com/index.php/2012/11/the-legendary-temple-jewelry-of-india/

Sadly for you (and luckily for the Gods), temple jewellery is made solely to adorn our anthropomorphic idols. Specifications are based on the Gods in question, their roles, the manifestation of their powers in ornamental form etc. When the fad began centuries ago, donors generously flooded temples with customised jewellery for Gods. Temple jewellery varied according to the donor’s social, economic and religious standing (Nigam, M.L., Indian Jewellery, 63). Oh, and secularism scored big time.  Hyder Ali, Tipu Sultan, the Nizam of Hyderabad (Ibid, 65) and other Muslim rulers of the south also lavished these temples with jewellery.

You’re scratching your head, wondering what all this signifies. Deity jewellery symbolises all the heavenly resplendence our earthly minds cannot possibly fathom. It’s painfully obvious that we can never match up to the Gods, hence the distinction. This is all rad, you say, but bear in mind this feat was no assembly-line production. Which is where dedicated goldsmiths and craftsmen feature. Adhering to a rigid set of requirements calls for a back-up of centuries-old family tradition, skill, patience and monetary investment. If you set out looking for skilled artisans, you’re most likely to find them toiling away in Nagercoil and Malaypore in Tamil Nadu, South India. Ah, but I see you lunge for Doc Brown’s DeLorean. Going back in time, you’d want to check out the special workshops of Mysore King Krishnaraja Wodeyar III.

Why are you specifically referring to South India, you ask me. Not because I’m a South Indian, I tell you, slightly offended. Well-preserved specimens are more probable to be found down south compared to the north, which has been subject to invasion over the years. Speaking of the north, there are extant specimens in the Srinathji temple in Nathdwara, Rajasthan (Krishnan, U. R., & Ramamrutham, B., Indian Jewellery – Dance of the Peacock: Jewellery Traditions of India, 196). Which brings me to part two…

Just when you thought Lord Balaji had the last laugh, the Enamel and Pearl Srinathji Necklace (Lot 23) shows up. Image Credit: http://www.saffronart.com/customauctions/PreWork.aspx?l=9157

Just when you thought Lord Balaji had the last laugh,
the Enamel and Pearl Srinathji Necklace (Lot 23) shows up. Image Credit: http://www.saffronart.com/customauctions/PreWork.aspx?l=9157

The necklace you see here depicts Srinathji, an avatar of Krishna. This is also temple jewellery, and here it becomes crucial to distinguish between the ornamental and the religious. This isn’t for your aesthetic pleasure, oh no. Temple dancers, priests and royalty began wearing temple jewellery metaphorising the overwhelming power I spoke of earlier. Then devotees jumped on the bandwagon. And you’re thinking it would be a good idea to take a cue from all this. What’s the cue? Saffronart.

“You know you want me,” says the Gowrishankaram (lot 82). Image Credit: http://www.saffronart.com/customauctions/PreWork.aspx?l=9216

“You know you want me,” says the Gowrishankaram (lot 82). Image Credit: http://www.saffronart.com/customauctions/PreWork.aspx?l=9216

Here’s the perfect example of having entrapped Lord Shiva in gold: the Gowrishankaram pendant (Lot 82). You’re relieved to see him in his calmer self, seated with Parvati on his bull, Nandi. You begin thinking you may want to bid for this piece. That’s not all. The lower compartment is an urn to store vibhuti¸ or sacred ash, to mimic Shiva’s ritual of smearing himself with it (Untracht, O., Traditional Jewelery of India, 39). Yes yes, temple jewellery is metaphor-obsessed. Just go for it.

These pieces feature in the Autumn Auction of Fine Jewels and Silver on October 23-24,2013.

To view the online catalogue, please click here.