an jewellery 2011 - van gelder - van gelder...

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2011

The Impulse to adorn,

Beauty, Power & Grace

The jewellery illustrated in this brochure is offered for sale by

Van Gelder Indian Jewellery

It is with great pleasure that we present our second cataloque, which we hope you will enjoy.

The purpose of Beauty, Power & Grace is to introduce you into the world of traditional Indian

Jewellery and the excitement of wearing unique pieces of this great culture.

During our travels we were offered fantastic jewellery and now we are pleased to share these

Beauty, Power & Grace with you.

Bernadette van Gelder

Fleur Damman – van Gelder

Noelle Viguurs – van Gelder

June 2011

For further inqueries:

T +31 (0)6 53 88 35 60

E [email protected]

I www.vangelderjewellery.com

Fleur Damman – van Gelder

Noelle Viguurs – van Gelder

June 2011

For further inqueries:

T +31 (0)6 53 88 35 60

E [email protected]


1

Ganesha statue in Swami technique,

The elephant – headed God, the

Remover of Obstacles, God of Wisdom.

He wears a crown set with rose cut

diamonds. Swami jewellery is an Anglo-

Indian style of jewellery that flourished

during the peak period of the British

Raj in India.

The jewellery was created mainly by

P.Orr and Sons in Madras, Tamil Nadu

ca. 1849 till the early twentieth century.

The gold ornaments were available in

22 karat gold at P.ORR and Sons.

The jewellery was stamped ORR 22

which was remarkable because no

system of hallmarking was practiced in

India.

The local term Swami, meaning “god or

goddess” referred to the ornamentation

of these pieces with one or more

images of deities or Swamies of the

hindu pantheon.

Swami style jewellery was created in

the repousse technique in which a

malleable metal (gold/silver/tin etc) is

ornamented or shaped by hammering

from the reverse side

India, Tamil Nadu, late 19th century

1 A gold Ganesha statue in Swami technique

India, Tamil Nadu, late 19th century

3

2 A pair of gold bangles, Gajredar Bangri,

consisiting of eight half-cylindrical, hinged

sections, set with rubies, emeralds and

diamonds.

Outer diameter ca 8 cm;

inner diameter ca 6cm

India, Rajasthan, 20th century

4

3 A gold necklace consisting of 4 open

worked amulet boxes, each set with rubies,

diamonds and emeralds and suspended

gold beads

India, Gujarat

19th century

5

4 A necklace, a Kanti (necklace) consisting of square

beads and turqoise finials. The kantha-tudar; necklace

of several gold strings held with elaborate clasps

India, Gujarath, late 19th century

6

5 A gold necklace decorated with 4 rosettes,

each set with turquoise and spinel, the

centerpiece is set with turquoise and diamonds

India, Rajasthan, Bikaner 19th century

6 Flower-shaped gold

earrings, jarau karanphul

jhumka, set with diamonds

and turqoises, are

embellished with miniature

versions suspended from the

roundel, which when worn,

dangle at the cheek.

Rajasthan, Shekawati,

19th century

7

7 A 20k gold ‘Nath’, a traditional

nosering, set with ruby, turquoise,

and pearls

Hindu, India, Uttar Pradesh,

Benares/Lucknow, 19th century

A nose in India it’s an age old tradition

that’s heads back centuries and has

significance even today. In some parts

of India the nose ring is never removed

once a woman is married, and thus a

nose ring is often considered to be a

sign of marriage. Nose rings, although

closely associated with Indian culture,

actually originated in the Middle East.

Nose rings first appeared in India

during the Moghul period around the

16th century. In fact, excavations in India

have not turned up any evidence of nose

rings in India prior to the 16th century.

The nose rings that first appeared in

India were not actual rings, but were

small, flat, ornamental patterns - often

flowers - that were held in place by a

screw on the inside of the nostril.

The type of nose ring is largely

dependent on the area of the nose

where the nose ring will be worn. For

instance, studs, also known as phul,

are common when worn in the nostril.

Circular barbells, also known as nath,

are worn in the septum (the cartilage

between the nostrils), and straight

barbells adorn the area on the bridge of

the nose between the eyes. It’s possible

for septum rings to be so large that

they make it difficult to eat.

Some nose rings are so heavily

ornamented by jewels, pearls and so

on, that chains, which are attached to

the hair or over the earlobe are used

to help support the weight of the nose

ring.

8 A pair of large earpendants

consisting of a crescent moon and a

suspended fish, set with diamonds and

suspended pearls with green glass beads

India, Rajasthan, ca 1940

10

9 A gold necklace, Guttapusal, set with

ruby, emerald and diamond. The whole

is decorated with natural pearls of an

extraordinary measurements.

Guttapusal (necklace of bunches of

pearls)

Andhra Pradesh, early 20th century

Bunches of small pearls (gutta) pierced

as beads (pusal). This ornament form

and name originated in areas close to

the ancient pearl fisheries along the

Coromandel coast

Lit ref Uppi Untracht p335 no 753

Lit ref Dance of the Peacock p52 no 52

11

These bangles are an example of one

of many typical wedding ornaments.

No single ornament, however, serves

this purpose throughout the Indian

subcontinent, as, for instance,

the wedding ring does in the West.

If an imaginary line is drawn between

northern and south India, it can be

said that to the north of this division

marriage symbol ornaments are worn

on the head, nose, wrist and toes; and

to the south they are worn suspended

from the neck. All the matrimonial

ornaments and jewellery have the basic

function of protecting against evil

spirits

The forms of jewellery and ornaments

also indicate the wearer’s geographical

place of origin, religion and also caste.

In some areas, the primary marriage

symbol ornament must be of gold, a

metal considered to be ritually pure and

sacred to the gods.

10 A set of 6 20 krt gold open worked

bracelets bangles. The edge of the

pair larger bangles is set with white

sapphires, or alternately with a work of

closely knit Basra pearls, moti jali. The

four smaller bangles are decorated with

open worked poppy flowers, set with

small Basra pearls and an emerald bead

in the centre. The brim is set with white

saphires, emeralds and Basra pearls.

India, Rajasthan, Bikaner, 19th century

15

A necklace consisting of several strings

with Basra pearls and a 20k gold clasp.

The clasp is decorated with a nandi and

left and right with bird pattern

Throughout the history of Indian

Jewellery, no gem has been prolifically

used as the pearl. For many centuries

the best quality pearls were found in

the Persian Gulf.Until the 16th century

the pearl trade was dominated by

the Arabs and Persians, but after the

Portugese colonisation, they took over

the trade. Pearls formed an important

asset of their Far East Trade. After the

Arabs regained control over the area,

they also took over the trade monopoly,

and this was in fact financed by the

Indians. The pearls came to shore at

the harbour city Basra, hence the name

‘Basra Pearls’.

After the pearls were washed, cleaned

and selected on colour, size shape and

lustre, they were send the Persian city

of Hormuz were the trade took place.

From here the pearls were shipped to

Mumbai, where the Indian trade took

place. From Mumbai the pearls were

distributed all over the country, and

were even sent overseas to the West.

Unfortunately, through extensive

fishing and pollution, there are no

longer pearls to be found in the Persian

Gulf, the Basra Pearl trade ended in the

late nineteenth century.

16

11 Nandi the bull which serves as the

mount of Shiva and as the gate keeper

of Shiva and Parvati in Hindu mythology.

Temples venerating Shiva and Parvati

display stone images of a seated Nandi,

generally facing the main shrine. There are

also a number of temples dedicated solely to

Nandi

North India, first quarter of the 20th century

17

13 A pair of gold earpendants set

with diamonds and suspended pearls

with green glass beads, the reverse

is decorated with multi coloured

enamelwork


12 A pair of earpendants set with

rockcristal and suspended pearls and

blue glass beads


14 A pair of gold earpendants set with

diamonds, emeralds and suspended

pearls,


18

15 A gold necklace set with white

saphires and emerald drops, the

reverse is decorated with multi

colored enemalwork

India, Bikaner, 19th century

19

16 A 4 line necklace consisting of

natural pearls and a gold clasp in fine

repousé workmanship

North India 20th century

17 A pair of gold domeshape

earpendants set with diamonds and

suspended pearls

India, Rajasthan, first quarter

20th century

20

18 A gold necklace consisting of 18

paisley shape pendants and decorated

with a rim of natural pearls

India, Maharastra, second quarter of

20th century

21

20 A gold necklace consisiting of

birdssegments set with ruby and

emerald and a centre pendant set with

rubies, emeralds and diamonds


19 A pair of gold earpendants set with

rubies an emerald and a rim of pearls

North India, ca 20th century

22

21 A Balewara, a traditional

gold necklace, decorated with a centre piece

set with diamonds, emeralds and rubies

India, Rajasthan, Bikaner

19th century

22 Braghar ear pendants

Traditional gold earrings with glass and

mother of pearl beads in the centre,

a gold drop with green German glass is

suspended.

India, Himachal Pradesh,

early 20th century

23

23 A gold hemispherical head ornament, with a suspended fringe of triangular pendants

in a spreading network. The whole is set in kundan technique with cabochon rubies,

emeralds, table cut diamonds and suspended Basra pearls. This headornament was worn on

the side of the head, the fringe hanging down over the forehead. Ornaments like these are

part of the jewellery traditionally worn by Muslimbrides.


25

24 A gold traditional necklace

India Rajasthan 20th century

26

25 A pair of traditional wedding earrings by Rabari

woman. Lit ref earrings Earrings p73

India, Ogania, Gujarath, ca second part of 20th century

26 A pair of gold Bhungi,

earornaments,are worn in the helix by

men and boys of all ages. The decoration

of the plate is composed of concentrically

soldered on filigree, granules and platelets

India, Gujarath, ca 1940

Lit ref Bala Krishnan,

Dance of the Peacock, ill 260

Cutsem, Welt der Ohrringe, ill. P.119, 124

Frater, Threads of Identity ill.121,123

Jain-Neubauer, Chandrika ill. P.27

27

27 A necklace consisting of 7 gold

arrowshape pendants, decorated with

a floral pattern in traditional Gujarath

workmanship

India, Gujarath, late 19th century,

106.73 grams

28

28 A pair of traditional gold

ear pendants with suspended gold

leaves

South India, Tamil Nadu

first quarter 20th century

29 A gold traditional necklace

India Maharastrha 20th century

29

30 A gold bangle

India, Gujarath, 20th century

30

31 A plain gold necklace

India, Gujarath, early 20th century

32 A pair of gold earpendants, Pandadi,

are worn in the middle or upper ear by

older girls before marriage. Square gold

Pandadi were specific ear ornaments of

Dhebaria Rabari Nomad Tribes in Kutch

India, Gujarath, first part of 20th century

31

33 A plain gold coin necklace a Kasu

Malai (necklace of coins) The coins are

inscripted on either sides. Front is gold

Mahalaskmi Madras. Reverse is 22ct

India, 1910. The use of coins in jewellery

constituted a form of savings and a

display of wealth 136.32 gr

India, Madras, 1910

32

34 22k gold necklace decorated with

enamelled finials and a centre pendant,

depicting Rama and Sita with the

monkey god Hanuma. Ram or Rama

is the seventh appearance of Vishnu.

His consort is Sita. In this shape he

descended to earth to save the world

from the oppression of Ravana, the

ten-headed king of demons. This story

is told in the epic poem the Ramayana.

They are the main characters.

Rajasthan, Bikaner 19th century

35 A gold enamelled bajuband set with white saphires

The tradition of wearing Bazubands was inherited by the Mughals from

their ancestors, the Timurids. The word bazu band is derived from Bazu,

meaning arm and Band, meaning closers, and is worn on the upper arm. The

most traditional form of the Bazuband was composed of a large stone of

exceedingly high quality, for example an emerald, which, in the days of the

Mughals, came from Colombia via the Portuguese and flanked by two pearls.

They became more ornate through the centuries and were another form of

displaying the finest gems, particularly when a number were worn together.

It was symbolic of aristocracy, masculinity and their role as conquerors, but

the practice of wearing Bazu bands began as an amulet to guard the wearer

from his enemies in battle. They were usually composed of stones which had

been astrologically chosen to ward off certain malefic effects, but as the

years wore on they took on a more decorative role and became an important

accessory to the king. They became more significant during the provincial

rule, when all the Maharajas and Nawabs wore them to indetify their role.

North India, 19th century

36

36 A pair of 20k gold child bangles with

Makara heads (mythical seacreatur).

Inlaid with diamonds, the eyes inlaid

with rubies, enamelled in the traditional

Champleve technique with a scroll of red

flowers and the green leaves on a white

ground with red and green parrots. The

child bangles in such good condition are

very rare. The bangles were probably

made for Rajput nobles.

India, Rajasthan, Jaipur, 19th century

37

37 A 20 ct gold necklace

consisting of seven pendants

(Latkan) on a finely worked

chain. All pendants are decorated

with multicoloured enamel, and

are fringed with pearls and blue

glass beads. Five pendants have

the form of an arrowhead

India, Rajasthan, Navthdvara,

19th century

38

The middle pendant depicts the name

of Shrinathji, an incarnation of the

Hindu god Vishnu, on one side. The

script is in Devanagari characters

Vishnu is one of the three gods in the

great Hindu trinity. The other gods

are Shiva and Brahma. Shiva is the

destroyer, Brahma represents creation

and Vishnu is the preserver. The name

‘Shrinathji’ is reserved in gold against a

red background, the whole symbolising

a flowering Lotus, surrounded by red

flowers and green leaves, and a bird

on either side. To the left and right are

three pendants, each decorated with

birds perching on a flowering

tree.

On the reverse, the Vishnupada, or

feet of Vishnu, are shown, within a

white circle with a green rim on a blue

ground, representing the primordial

waters.

The feet are adorned with symbols

such as the axe, and the fish, objects

that are connected with episodes in the

mythology of Vishnu.

This necklace was worn by pilgrims to

the shrine of Shrinathji.

Illustrating Vishnu’s footprints with

objects connected to him is traditional

in Hindu iconography. Pictures of his

footprints are no less revered than

other painted and sculptured images of

Vishnu.

Showing reverence to the feet of a

deity, and elder, a holy man, or someone

of higher status is common practice

in India. An amulet with the feet of

Vishnu around the neck keeps the god

close to the heart and identifies the

wearer as a Vaishnavite, follower

40

of Vishnu, and in the particular

example as a Shrinathji pilgrim, a

member of the Vallabhacharya sect. A

song in praise of Vishu’s feet concludes:

“This very sacred Pada (Vishnu’s feet)

has bestowed on the lives of many great

saints a place of sublimity”.

The form of an arrowhead had had

great symbolic meaning since ancient

times. The stone arrowhead spearheads

and axes were among man’s earliest

lethal weapons. The power to end a life

was highly respected by the ancients,

and the instruments themselves were

regarded as magical. Even the mere

form of the arrowhead was believed

to possess the power to destroy the

evil spirits. To obtain this protection, a

pendant in the form of an arrowhead

was worn around the neck. Eventually,

the simple arrowhead evolved into a

more stylised and embellished form,

although the decorations should

reinforce the amulet’s auspicious power.

Seven is, as is nine, a very auspicious

number for Hindus. Hindu cosmology

conceives of the universe as containing

seven planets and two personifications

of the moon cycle, all designated as

celestial deities. The seven planets

correspond with seven Hindu gods and

the seven days of the week. The white

light from the sun is a combination of

seven colours of the spectrum. Each

planet sends of one colour.

It is believed that the sunlight, so as

such each of the seven cosmic colours,

have a special effect on every living

creature on earth.

41

38 A pair of domeshape earpendants set with

rubies and suspended pearls

India, Rajasthan second part of 20th century

39 A pearl and ruby necklace consisting

of suspended gold heartshape pendants

each set with diamonds and decorated

with safed chalwan enamelwork


42

40 Sarphatti (Hindi) (turban ornament)

A turban ornament consisting of a gold, openwork plaque set with diamonds

and rubies. On either side is a gold, openwork triangular element, likewise

set with diamonds and rubies – all in the kundan technique. The whole is

decorated with suspended spinel drops and at both ends are fine strands of

red glass beads. The reverse is entirely decorated with Safed Chalwan enamel.

India, Rajasthan, Jaipur, ca 1880

43

41 A pair of gold traditional Jumkah

ear pendants set with diamonds and

suspended emeralds, pearls and glass

beads. The reverse is decorated with

multi coloured enamel.


44

42 A pair of gold ear pendants set with

diamonds and natural emeralds from

Colombia.

Approximate weight estimates on the

various items are 2 round emeralds: total

weight approximately 1.2 carats

2 pear shaped emeralds: respectively 11

and 14 carats (rough estimates due shape)

48 rose-cute diamonds:

total weight approximately 3 carat

Lab tested by Netherlands Gemmological

Laboratory Ltd. Leiden, Holland

45

Enamelling

The most reputed af all the centres of

enamelling in India is Jaipur. The enamellers

of Jaipur have reached such perfection in

this craft that they remain unsurpassed

throughout the length and breadth of the

country. Jaipur – and to some extent Alwar

- had the distinction of being the best

known centres for enamelling during the

eighteenth and ninetheenth century, the

craftsmen traditionally being thought to

have come from Lahore. Enamelling was

initated in Jaipur during the reign of Sawai

Man Singh I.

Handcrafted Indian enamel jewellery Rita

Devi Sharma M. Varadarajan p25

Kundan

Kundan is probably the oldest form of jewel

crafting in India. Small pieces of pure gold

are hammered into paper-thin sheets and

encased around the gems to hald them in

place. The state of its origin is Rajasthan,

where the main centres for kundan work are

Jaipur and Bikaner

Handcrafted Indian enamel jewellery Rita

Devi Sharma M. Varadarajan p30

Arrowhead

The form of an arrowhead has had a great

symbolic meaning since ancient times.

Stone arrowheads spearheads and axes

were among man’s earliest lethal and the

instruments themselves were regarded as

magical. Even the form of the arrowhead

was believed to possess the power to

destroy the evil world. To obtain this

protection a pendant in the form of an

arrowhead was worn around the neck.

Eventually, the simple arrowhead evolved

into a more stylised and embellished form,

although the decorations should reinforce

the amulet’s auspicious power.

Mango

Mango, the luscious juicy fruit growing

abundantly all over India, is the most

popular motif in almost all craft objects,

including jewellery.

The popular story often narrated avers that

God in one of his creative provocations

extracted the juice from a mango tree

as paint and drew the fi gure of a woman

who looked so beautiful that put even the

apsaras (celestial nymphs) to shame.

Conch Shell

The conch shell, obtained from river or

sea-beds is considered one of the most

auspicious objects used during rituals in

Hindu temples.

Hindus believe that the sound of the conch

shell is holy and will ward off misfortunes. In

Hindu families, all religious and auspicious

functions start after the conch shell is blown.

During ancient times, the blowing of the

conch shell was the announcement of war,

heralding battles to come.

Birds and Animals

Only those birds and animals that

have sacred associations are, and

can be, used on Indian jewellery and

other crafts forms.

Peacock

Among birds, the peacock is the most

important, not only because of its beauty,

elegance, colourful body and features, but

because it is the VAHANA (mount) of Shiva

and Paravati’s second son Skanda also

known as Kumara or Karttikeya.

The peacock is admired all over India.

Designs and symbols on traditional Indian Jewellery

43 A ring set with a table cut diamond mounted in a pacchi settin.

Pacchi jewellery setting

Silver is shaped into a round wire which is then flattened. The flat wire is piereced

with a groove followed by a gold polish into vairous shapes.

46

Hamsa or Goose

Is associated with Brahma, the Creator of

the Universe. This bird inspired the Indian

artists over the centuries especially in Tamil

Nadu.

Elephant

Is associated with Indra, lord of the celestial

world, whose mount is the white elephant

Airavat.

Elephants also fl ank entrances to most royal

palaces.

Nandi

The sacred bull Vahana(mount) of lord

Shiva, is the symbol of his lord’s divine

nature.

The Nandi is often shown in a sitting posture

at the entrance of Shiva temples.

Makara

A mythical animal and the Vahana(mount)

of the sacred river goddess Ganga.

Basra Pearls

Throughout the history of Indian Jewellery,

no gem has been prolifi cally used as the

pearl. For many centuries the best quality

pearls were found in the Persian Gulf.

Until the 16th century the pearl trade was

dominated by the Arabs and Persians

but, after the Portugese colonisation, the

Portugese took over the trade.

Pearls formed an important asset of their

Far East Trade.

After the Arabs regained control over

the area, they also took over the trade

monopoly and this was in fact fi nanced by

the Indians.

The pearls came to shore at the harbour

city of Basra, hence the name ‘Basra Pearls’.

The pearls were send to the Persian city of

Hormuz where the trade took place. From

here the pearls were shipped to Mumbai,

where the Indian trade took place.

From there Mumbai the pearls were

distributed all over the country and were

even sent overseas to the West.

Unfortunately, through extensive fi shing

and pollution, there are no longer pearls

to be found in the Persian Gulf. The Basra

Pearl trade ended in the late nineteenth

century.

44 A gold ring, set with diamond

and emerald


47

Literary reference

• Indian Jewellery

Thomas Holbein Hendley

• Mughal Jewels

Monin Latif

• Traditional Jewellery

Uppi Untracht

• Jewellery of India

Francis Brunel

• Arts & Crafts of Tamil Nadu

Nanditha Krishna

• Splendours of Kerala

Marg publications

Oude Dieze 15

5211 KT ’s Hertogenbosch

The Netherlands

T +31 (0)6 53 88 35 60

E [email protected]


Design & printing BibloVanGerwen

Photography Ton van der Vorst

Text Bernadette van Gelder

Noëlle Viguurs-van Gelder

48

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2011

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