A Word of Thanks & Happy 2013!

Dear Readers,

Here’s wishing you a very happy and prosperous 2013 ! The past year was an eventful one for Saffronart as we introduced an array of new categories and collectibles by way of our auctions and The Story, our new website featuring unique objects in curated collections available for sale every day!

Happy New Year from Saffronart

It was also the inaugural year for our blog launched in April of 2012. In a span of six months, we have come a long way with a readership of 1600 plus. We were happy to feature exciting reviews reports and interviews through this course. Some highlights included a guest post on Arpita Singh’s New York solo exhibition at the DC Moore Gallery, a series of walk-throughs of the Metropolitan Museum’s new Islamic galleries, a review of Zarina’s solo show at the Hammer Museum, interviews withTarun Tahiliani and Shilpa Shah of the TAPI Collection, as well as collectors like Anupam Poddar,and Kamran Anwar weighing in on their favorite lots from our inaugural Pakistani  auction. Other exciting conversations included one between guest blogger Diana Campbell, artist Rathin Barman and gallerists Priyanka and Prateek Raja, an interview with the Director of the ARKEN Museum in Copenhagen and with Beth Citron, the curator of the Rubin Museum on their exhibition program dedicated to Modern Indian Art as also one with  Sarnath Banerjee about his London public art project, ‘Gallery of Losers’.

We thank you for your support and look forward to bringing timely and engaging news, interviews, images and more from our offices around the world. A special word of thanks for our guests bloggers for their contributions. We hope our regular posts on this blog continue to offer you new insights into the products we feature in our online auctions, new ideas about collecting, and also a new perspective on Saffronart.

Best wishes,

Team at Saffronart Blog

Saffronart Delhi hosts an exhibition of embroidered textiles from Nagaland & Bihar

Manjari Sihare shares snippets of an exhibition of embroidered textiles currently on view at Saffronart Delhi

New Delhi: Last week, an exhibition of embroidered textiles from Nagaland and Bihar opened in our Delhi gallery. Textiles from this exhibition are  featured in a curated collection on The Story. Learn more about the exquisite embroidery traditions of India in this blog post contributed by renowned craft connoisseur, Minhazz Mazumdar who also delivered a talk to mark this exhibition. Stay tuned for more exciting collections on the running stitch!

Here are some snippets from the show which runs until January 12, 2013.

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Romance of the Running Stitch

In conjunction with the beautiful collection of textiles featured on The Story, Romance of the Running Stitch: Nagaland, guest blogger, Minhazz Majumdar shares some insights on the embroidery traditions of India

New Delhi: India has a long and enduring relationship with embroidered textiles and presents a dizzying array of embroidery traditions. The first needles discovered in the Indian sub-continent are from the Indus Valley civilization in Mohenjodaro and date back to 2000 BC. Examining the statuary and other material culture of that era, we can conclude that richly embroidered textiles were in vogue even then. By the 16th Century, the embroidery traditions of India were known as some of the finest in the world.

Dandelion Series I by Ajungla ImchenA silk stole embroidered using Kantha embroidery style77 x 20.5 in (195.5 x 52 cms)

Dandelion Series I (detail) by Ajungla Imchen
A silk stole embroidered using Kantha embroidery style
77 x 20.5 in (195.5 x 52 cms)
Image credit: Saffronart

Kantha  and Sujuni are embroidery traditions from eastern India from  the states of West Bengal and Bihar respectively . Both embroideries are based on the simple running or quilting stitch and are great expressions of women’s thrift as they originated as magical recreations of a beautiful new textile from old used fabrics.  The term Kantha refers to rags and alludes to the fact that worn out clothing such as old saris and dhotis were layered and stitched with running stitch to create anew. Colored threads painstakingly drawn from the borders were used for embroidery.  Some believe that the tradition of Kantha originated from the patched up robes of Buddhist monks as they went around seeking alms, their faith promoting austere habits and re-use.

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Basket Series II (detail) by Ajungla Imchen
A silk stole embroidered using Kantha embroidery style
77 x 20.5 in (195.5 x 52 cms)
Image credit: Saffronart

Whatever be the origin, Kantha in the greater Bengal area (present day Bangladesh and West Bengal)  evolved into a women’s activity wherein the women magically transformed the old and discarded into new objects of beauty , creating wraps, quilts,  pillow-cases, bedspreads, book-covers, make-up bags, prayer mats and much more. The running stitch was used to great effect – by varying the length of the stitch and by either aligning (jod) or not aligning (bejod), different  effects and textures were created.  Themes in the Kanthas of yore where a mix of symbols ( the multi-petalled lotus drawn from the floor drawings alpona signifying the cosmos, the parrot, the messenger of the God of Love, peacocks for virility and so on) as well as scenes from daily life and historical facts such as British soldiers in their uniforms.

The Hunter and the Hunted by Archana Kumari An embroidered cotton panel with Sujuni embroidery

The Hunter and the Hunted by Archana Kumari
An embroidered cotton panel with Sujuni embroidery
Image credit: Saffronart

Women in the Bihar region have made Sujunis for quite a few centuries. As in Kantha old fabric were sewn together to make little quilts to place under small babies and to cover them.  In Sujuni, chain stitch is used for the outlines and running stitch for filling in the motifs.  In Sujuni, the ground or base on which the motifs appear is covered with running stitch done in straight lines while in Kantha, the ground may be covered in running stitch done more sinuously in circles, spirals, triangles etc as well as straight lines.

View the first collection of textiles Romance of the Running Stitch: Nagaland here.

Guest blogger, Minhazz Majumdar is a writer and curator of Indian art and a craft promoter. She is the co-founder of the Earth & Grass Workshop, an organization that promotes arts and crafts as livelihood.

A Conversation with Namrata & Dharmesh Kothari of SYNA Jewels

Mogul Black Spinel Short Tassel Pendant with Rubellite

Mogul Black Spinel Short Tassel Pendant with Rubellite

Manjari Sihare of Saffronart in a tête-à-tête with Namrata & Dharmesh Kothari of SYNA Jewels

New York: To mark the holiday season, The Story by Saffronart presents a collection of exquisite Mogul jewelry by renowned US based jewelry design firm SYNA, founded by Namrata & Dharmesh Kothari. Well known for curating private label collections for some of the world’s most esteemed jewelry houses, Namrata and Dharmesh launched their own designer label, SYNA, in 2003. Now in its tenth year, SYNA has made its way into most high-end stores across the United States. The designer couple talk to us about the simple, classic and timeless creations of SYNA, the materials, their use of age-old inlay and carving techniques and more in this exclusive interview.

Q. Please tell us about your brand ‘SYNA’?

SYNA was born in 2003 and excels in exquisitely crafted, luxurious jewelry using colored gemstones.  SYNA means “together” It comes from synergy. The name relates to our desire to partner with people, be it our retailers, our vendors, our jewelers or our employees. We believe people can achieve great things by respecting each other and pooling their talents and resources.

Q. SYNA jewelry stands out for its use of semi-precious gemstones? Please elaborate on your choice of materials and the design philosophy?

Our design philosophy has always been to keep it simple. A piece should have only what is needed, nothing too much, and not less. You will not see pieces from SYNA with too much going on. We’re always always stripping a design to its core. We want to show the heart out instantly, and in it’s purest form, without losing its inherent character.

We believe in using the best of gemstones, which we source from all across the world. We collect roughs of various gemstones and cut the shapes we need as we want. We utilize complex methods to showcase jewelry in its simplest form possible, we never lose the inherent character of the stones, letting the natural beauty of gemstones take center stage. Everything is about achieving the most effective color display and combination. The silhouettes are classic yet striking and can complement a daytime denim or underscore a perfect little black dress. The simplicity of a SYNA piece with a twist of modern elegance is what keeps it timelessly fresh yet versatile.

Q. Do you manufacture SYNA jewelry in the United States? Tell us a little about your sourcing and manufacturing?  

We make our jewelry in the United States using the most skilled jewelers in the industry. We cut and polish our gemstones in India. And our colored stone roughs are sourced from all across the world. We’re always in the search of exotic new materials and gemstones. Being hands on right from sourcing the raw materials to the finished product, there is no compromising at any stage.

Q. Could you talk to us about SYNA’s ‘Mogul Collection’ featured on The Story?

SYNA MOGUL SIGNATURE MOTHER OF PEARL EARRINGS

SYNA’s Mother of Pearl Earrings in their signature design, the intricately latticed windows inspired by Mughal architecture

Like I said, our design philosophy has always been to keep it simple. We have taken intricate traditional Mughal shapes and extracted their purest forms and used them in our collections in simple, modern ways. Our signature & symbol is inspired by intricately latticed windows from Mughal palaces, effortlessly merged into a medallion. We proudly call it the Mogul. Our little signature identifies our roots and our design philosophy.

Being the heart of the SYNA brand are the Mogul Drops. The outer shape of the Mogul drops is inspired by the traditional red tilak, a Hindu symbol of victory,

success and good fortune placed on the forehead. We call them “Mogul” drops as they reflect the larger-than-life sizes (some even go to more than a hundred carats each). Our Mogul drops celebrate the culmination of Hindu and Mughal art influences in most architecture in India.

SYNA MOGUL DROPS

SYNA Mogul Drops

Little antiques, a child’s drawing, architecture, a landscape, door knobs, a memory , a word from a friend on the phone. There are always little things everywhere that gets us excited and thinking, be it during our travels or from our backyard. We love seeing how one inspiration fuses into another all the time.

Q. What are some of the key pieces in this collection and why do they stand out from everything else?

Our large Mogul Drops!! Each large drop is a over a 100 carats, cut to perfection and embellished with 18k yellow gold and diamonds. These can be adorned on vintage leather cords, blackened silver chains and 18k yellow gold chains (and even interchangeably). Each look transforms this simple classic piece into a versatile, chic style. We absolutely love the magic we see in the eyes of our clients when they wear these. The Mogul drops come in various sizes (large, medium and small) and in a lot of different stone species (amethyst, blue topaz, black spinel, rose quartz, blue chalcedony, moon quartz, citrine, lemon quartz, smoky quartz, rock crystal and more) embellished with 18k yellow gold and champagne and black diamonds.

Q. Please share the retail history of SYNA?

SYNA was born in 2003, when we came to the US. It’s been quite a joyride ever since, with some highs and some lows (and some serious bumps!!)  Our first collections were taken by the big names in the industry. It helped us survive the giant leap we took from India then. Today, the SYNA brand is showcased in most high-end retail stores nation-wide including Neiman Marcus & Mitchells family of stores. We choose only the best in the business in each location.

Q. Where do you see SYNA in the next 5-10 years

The last ten years have been our foundation years, long and significant. These years were also some of the most exciting years of our lives. In the next five years, we’ll see a lot of “distribution” magic within SYNA. We’re here since the last ten years, but we’re yet discovering new places. We’re still touring each city, still discovering new store locations, we’re still meeting people, people whom we will work for a life-time. We are growing each day and we’re loving every moment. The next decade will be the most crucial years for Syna, and hopefully they will be path-breaking.

 Q. What kind of buyers does the brand cater to?

Our clients are drawn to our pieces for the purity of color and elegance. They are compelled to touch the stones and get a feeling of spirituality. They love simple, sophisticated styling with an understanding of natural gemstones and appreciate fine quality.  

Q. Your recommendations to build a classic SYNA Collection

Mogul Amethyst dangling drop chain earrings with Rubellite

Mogul Amethyst dangling drop chain earrings with Rubellite

A large or medium Mogul drop on a vintage cord. Some Baubles rings and bracelets. Simple modern Paris cobblestone earrings and a little SYNA bold chakra charm pendant is a good way to start with. From there on, one can build the collection with additional drop colors & sizes (for layering) and some more Baubles colors (to add more combinations to your existing look) and more earring styles. One will be amazed to see how they can use the same piece to create different looks all the time. Usually, we meet up our clients at various events with their existing jewelry (their SYNA pieces and their other pieces) and we create their jewelry looks right away. They always leave the event surprised and awakened on how some colors do so much magic on them than the others. It’s amazing how nature gives us these gems with such potent color, each of them providing us with the opportunity to create beautiful color stories.

Baubles diamond pave stacking rings

Baubles diamond pave stacking rings

Jamdani: A Tribute to the Bangladeshi Weaver

Jamdani Sari The Nadia Samdani Collection, The Story by Saffronart

Jamdani Sari
The Nadia Samdani Collection, The Story by Saffronart

Manjari Sihare of Saffronart explores the art of Jamdani weaving in conjunction with the saris featured in Nadia Samdani’s collection on The Story

New York: This past week, Saffronart launched a new collection in The Story, curated Bangladeshi collector and philanthropist, Nadia Samdani. Best known as the foremost connoisseur of Bangladeshi contemporary art in her capacity as the Founder and Director of Dhaka Art Summit, Nadia Samdani has brought together an exquisite collection of contemporary art, jewelry as well as traditional textiles from Bangladesh. What caught my fancy are two light hued jamdani saris. It is common knowledge that Jamdanis are handloom woven fabrics made of cotton, which was historically referred to as muslin.

Jamdani weaving is the foremost symbol of Bangladesh’s rich cultural heritage. The cities of Dhaka and Narayanganj in Central Bangladesh have served as hubs for Jamdani handlooms for centuries. Numerous chronicles reference jamdani weaving. In the book Sril Silat-ut-Tawarikh, written in the 9th century, the Arab geographer Solaiman talks about the fine fabrics manufactured in the state called Rumy, or modern day Bangladesh. An interesting article in The News Today references the famous Book of Periplus of Ertitrean Sea (written as an navigation and trading account of the world), noting that it documents the fine fabrics available in this area as far back as the first decade before the birth of  Christ. The golden age of Dhaka muslin, however, began with Mughal rule in the 17th century. Due to the labor and time intensive manufacturing process, Jamdani fabric was frightfully expensive and thus a luxury afforded by only royals and aristocrats.

An authentic Jamdani loom with two weavers sitting alongside each other Image credit:

An authentic Jamdani loom with two weavers sitting alongside each other
Image credit: http://www.eyefetch.com

Jamdani weaving is similar to other handloom weaving techniques, wherein small shuttles of threads are passed through the weft. It is hand-woven on a bamboo loom with the weaver sitting in a trench dug into the ground. As illustrated in the above image, two weavers sit alongside each other at the loom and add every discontinuous
supplementary weft motif separately, by hand, interlacing the supplementary
weft threads into the warp with fine bamboo sticks in a zigzag manner using
individual spools of thread. It is a special process as there is no use of mechanism what so ever and neither does the loom make any noise. The design is drawn on a graph paper and placed underneath the warp. It is remarkable that the designs are never sketched or outlined on the parent fabric. In fact some seasoned weavers don’t even use the graph paper; they insert motifs from memory! The patterns are mostly floral or geometric. The Victoria and Albert Museum of London have a fine collection of Jamdani saris.

Sari (jamdani) Bangladesh About 1880 Muslin Width 86 cm x Length 335 cm IS.664-1883, Victoria & Albert Museum, London

Sari (jamdani) Bangladesh About 1880 Muslin Width 86 cm x Length 335 cm IS.664-1883, Victoria & Albert Museum, London

Two of the saris in the Nadia Samdani collection are excellent examples of Jamdaani weaving. The ivory and gold sari exhibits a beautiful  ‘butidar’ pattern, a term where the entire sari is scattered with floral sprays. A design with larger flowers is also referred to as ‘toradar’. My preference of the two is the pink and gold sari for its lightly colored hue and its beautiful ‘jaal’ (a term used when the design covers the entire field of the sari).

What makes Jamdani the exquisite art form it is? Its exclusivity is attributed to its rarity. The decline in the Jamdani industry is reported to have begun as early as the  middle of the eighteenth century.  With the decline of the Mughal empire in the Indian sub-continent, Jamdani kaarigars or weavers lost their most influential patrons. This is considered to be the primary reason for the decline of this exquisite art form. The decline was accentuated with the subsequent import of lower quality and cheaper yarn from Europe. These issues have had repercussions in contemporary times as well. With the oldest generations of artisans unable to sustain their craft production, the younger generations did not have any training to fall back on. Also, the main Jamdani-making belt in Bangladesh, on the banks of the river Shitalakhya, is under severe threat with waste from factories, mills, and settlements. The long-winded nature of the Jamdani weaving process demands a price that limits its consumer base. A craft process at risk of extinction, it must be recognised that the Jamdani industry can only survive if the market is expanded.