The art and history of Jewellery
By- Kamala Vasudevan
Jewellery is one of the oldest Art form. It has always been the symbol of love, devotion, and so many other human sentiments from ancient times. Sometimes a votive offering to the gods, sometimes a source of income, sometimes a status symbol, an alluring invitation towards temptation, gilding an already beautiful one, maybe a promise of holy matrimony between two loved ones, a flashy tomb architectural adornment of rich royals, and of course to be pawned in distressing times, to strengthen an alliance or else a peace treaty of warring kings, a gesture of royal appreciation to a beautiful court dancer or as a impulsive gift to a court poet and thus we can go on and on about the numerous important parts jewellery plays in human affairs.
It is said that the word jewellery is derived from the Italian word for Joy, and it gives just that to the giver and the wearer alike. But, strangely enough, the subject of Jewellery has never been of great interest to the serious academics, except as an adjunct to historical events like the looting of jewels and gold from temples, tombs and palaces by an invading army as a victorious trophy. It is mentioned as a valuable bribe to buy off a rival royal when other means don't work!
Tiny amount of the precious metal, gold, has spawned a range of miraculous ideas and incredible skill in human hands. It is impossible to catalogue these, Funnily enough, the techniques of making fine jewellery by craftsmen has changed little down he ages. Skilled brain and hands with a small work bench still produce the finest of master pieces of jewellery. This is an art without the backing of any sophisticated technology.
The finest examples of jewellery is in the hands of private owners and collectors and in the vaults of Museums and temples. It includes ancient gold and silver coin collection also.
The tombs in the Valley of Kings in Egypt where the mummified remains of the great Pharaoh were found contained fabulous royal tresures which lay hidden for thirty three hundred years. The ancient Aztecs and the Mayan civilisations were known to have enormous gold artifacts. The tomb jewellery and gold was mostly stolen by tomb robbers, but whatever remained makes for impressive collection.
In ancient times, we find, from the temple sculptures and murals, jewellery, or some of it , substituted for clothing, like a girdle of several chains and large pectorals covering the entire breasts of female figures, heavy strings of beads covering the shoulders and the pelvis of men and women.
In the western world, around the 13th. century, for e.g., clothes were heavy and crudely stitched and covered the entire body and the only pieces of jewellery were clasps and buttons to hold the cloaks together. By the 15th. century, clothes had become much lighter and plenty of skin was displayed to be decorated with jewellery like pendants and chains and heavy necklaces. People showed off their status wearing as much jewellery on their persons as possible.
Gold was bullion, a source of wealth which need not be banked, but worn on the person to impress other folks of your fortune! Both sexes wore enormous jewellery in earlier times.
In spite of all this splendour, the jewellers have been and still are rather rather obscure and don't enjoy fame and respect they deserve, partly because jewellery is a difficult art to explain.
The artifacts and jewellery found at the Indus Valley civilization of 5000 years ago at the Mohen-Jo- Daro and Harappan sites, the Buddhist find of masterpieces, 2500 years old, from the ancient Taxila and the rare relics of Alexander the Great's Indian invasion in 327 B.C. are totally different from the West's Byzantian masterpiecs. The cultures of the East and the West did not become interdependent till the Indian sub- continent attracted in 1532 A.D. the Mongol hordes who came down from the plains of Central Asia to conquer India. These were the descendents of the Turks who took Constantinople in 1453 A.D.. This was the beginning of Indian gold and gem jewellery becoming increasingly important to Europe through the inter mingling of cultures and trade routes.
The Indus Valley produced beautiful beads and gold, but were unrecognized until the first Millenium B.C. Then , it started being influenced by Persia with its geometric sun symbols, designs that were stamped and occassionaly enamelleed and at a later period, the Greek influence of granulation and delicate bird and animal design appeared.
Even though the ancient jeweler possessed only crude equipments, he was able to create wonderful shapes.
The Ajanta cave murals show the Buddhist women of 8th. century wearing enormous gold crowns, multiple necklaces and chains. The exquisite female statues of the 12th. century Khajuraho temple frescoes are shown adorned with dangling pearls and gems, all beautifully cut into black stone.Perhaps no land on earth clings to as stubbornly to time-honored ways as India. The wife of a New Delhi shop keeper might be seen wearing the same kind of jewellery depicted on a statuette from Mohenjo-Daro, where the Indus Valley civilization flourished some 2000 years before Christ. Unbroken threads reach from the body ornaments shown in the Ajanta cave paintings and Khajuraho relief carvings to the women of modern Rajasthan. There is little difference between the belts hugging the waist of the divinities at Sanchi and those worn by female dancers in modern day India.
The importance of jewellery in Indian culture has underpinnings in religious literature. The Rig Veda describes jewels as having divine attributes. Moreover, precious stones are revered by the gods themselves: Vishnu worships sapphires; Indra ,rubies; and Agni, diamonds. Until diamonds were discovered in Brazil in 1732, the gem that fuelled strife between Kings and Emperors came nowhere but India.
Because cremation is traditional on the Indian Sub- continent, few pieces of jewellery survive. Yet the old forms endure, even when the materials and techniques have gone into decline. The vanity of body ornaments in India is astonishing, and the people's delight in decorative combinations is unending. Jewellery transforms its women into goddesses, sets off their graceful movements, and continuously underscores their links to nature with a host of religious, and mythological connotations. A woman's personal jewellery is the only property she may legally possess; she carries it on her person wherever she goes.
In India, life is leavened with sensuality in ultra- sophisticated ways. A Moghul comb redolent of musk mingles the allure of jewellery and cosmetics. A sandalwood necklace suffuses the wearer with fragrance. To promote fertility, women carry a silver box containing the cosmic egg, a smooth, ovoid, rock crystal lingam that symbolises Shiva's virile power. Anklets and toe-rings, while calculated to attract the male eye, are worn are worn as part of everyday attire and confer a regal bearing on the humblest women, who can afford nothing but glass and white metal ornaments. Jewellery transfigures the landscape of daily life.
Indian jewellery frequently turns to nature for inspiration. Many designs derive from flowers, seeds, and fruit, which can be strung and worn as such or copied in metal. Symbol of the sun, and the river goddess Ganges, gold has purported prophylactic properties and is conducive to physical well- being. Silver, associated with the moon and the river Yamuna, is worked north, south, and east and west; each region adapts age- old forms to suit its particular tastes. The Makara heads on both the bracelets and the female dancer's belt symbolize intellect and intuition. Everything in India is laden with meaning, Symbolism, and religious overtones.
Indians everywhere wear torques, the ubiquitous neck- rings that reach back to pre- historic times and appear among peoples a far- flung as the Scythians, Vikings, Gauls, Chinese, and Greeks. Tubular, flat, smooth, twisted, engraved, embellished with semi- precious stones- these seems to be as many variations on the theme as there are localities. The neck rings worn by the Swat people hint at Greek influence dating back to the invasion of Alexander, the Great. The women of Kutch region coil single pieces of silver wire into heavy, bulky torques that are their pride and joy.
In addition to large sculptural ornaments, Indian craftsmen contrive ultra- delicate precious metalwork designed both to set off gemstones and bring out their astrological and prophylactic properties. The nine planets of the Indian System are represented by precious stones; Sun by a ruby ( often at the centre of the jewel); Venus by a diamond, Saturn by a sapphire, Ketu by a Cat's eye, Mars by a coral, Mercury by an emerald, the moon by a pearl, Rahu by a Hyacinth and Jupiter by a topaz. Wearing all nine stones in a single setting is thought to provide the wearer universal protection.
Diamonds are considered poisonous, but other precious stones are ingested for medicinal purposes. A potion made with pearl powder, honey, and spices is still considered an effective tonic and remains in great demand as an aphrodisiac. Gold and silver leaf are added to food not only for decorative purposes but because of their supposed restorative properties.
The great Moghuls took ornamentation to unparallel heights of refinement and exemplified the saying that the glory of a prince is made tangible by his buildings, library, and his jewels! No fewer than three custodians tended the Emperor Akbar's jewellery; his successor Jehangir kept his treasure in six forts!
The Moghuls helped popularize enameling, a craft technique that not only enhanced the play of light across gemstones but also saved on gold, a commodity always in short supply in India. The enamellers came from Punjab under a mandate to produce nothing but master pieces. They graced their gorgeous bracelets and necklaces with enchanting combinations of colours, with names like pigeon's blood, parrot feather green, mimosa flower yellow, and deep peacock neck blue.
The decorative styles of India run the gamut from baroque extravagance to abstract severity, and its techniques include forging and repousse work, cutting and polishing of hard stones, granulation and filigree.
The Naga hill peoples of Assam reveal India at its most primitive; former head- hunters of Mongol descent who have been documented as far back as Ptolemy's time. For them, body ornament is a conspicuous indicator of social status and it is so tightly inter-woven with self-identification that some jewellery may not be removed until its owner has died. The right to wear certain ornaments is subject to rigid constraints and taboos. A Sema warrior may not wear the tusks of a boar he himself has killed. Only Sema who are head- hunters may wear boar's tusk necklaces, hornbill feathers in an animal- fur headband which identify warriors. Angami men may not wear hornbill feathers between millet sowing time and the rice harvest. A Lohta man must purchase his ivory armlet through a go- between so that any evil in it will befall him and not the purchaser.
And the list goes on and on; only certain Ao clans are entitled to wear bracelets cut from elephant tusks for Konyak warriors, monkey skulls suspended from the neck have same value as the number of human kneads taken. They also make brass neck rings edged with round, head shaped protrusions believed to represent shrunken- head trophies. The number of coveted hornbill feathers on a head-dress gives a concise rundown of the wearer's deeds. The desirability of this ornament encourages competitiveness both in hunting and at celebrations that transforms animal carcasses and barrels of rice beer into status enhancing items. The V-pattern probably symbolic of cattle horns that men engrave on their shell ear ornament is similar to the tattoo markings on warrior's chests.
The Naga hill peoples of Assam reveal India at its most primitive; former head- hunters of Mongol descent who have been documented as far back as Ptolemy's time. For them, body ornament is a conspicuous indicator of social status and it is so tightly inter-woven with self-identification that some jewellery may not be removed until its owner has died. The right to wear certain ornaments is subject to rigid constraints and taboos. A Sema warrior may not wear the tusks of a boar he himself has killed. Only Sema who are head- hunters may wear boar's tusk necklaces, hornbill feathers in an animal- fur headband which identify warriors. Angami men may not wear hornbill feathers between millet sowing time and the rice harvest. A Lohta man must purchase his ivory armlet through a go- between so that any evil in it will befall him and not the purchaser.
And the list goes on and on; only certain Ao clans are entitled to wear bracelets cut from elephant tusks for Konyak warriors, monkey skulls suspended from the neck have same value as the number of human kneads taken. They also make brass neck rings edged with round, head shaped protrusions believed to represent shrunken- head trophies. The number of coveted hornbill feathers on a head-dress gives a concise rundown of the wearer's deeds. The desirability of this ornament encourages competitiveness both in hunting and at celebrations that transforms animal carcasses and barrels of rice beer into status enhancing items. The V-pattern probably symbolic of cattle horns that men engrave on their shell ear ornament is similar to the tattoo markings on warrior's chests.
All of these decapitated heads, tiger's teeth, hornbill beads, and spiked arm ornaments have an unmistakable aura of manliness. The women wear necklaces strung with variously mounted beads and mass their seed bead necklaces in a way that sends supplely twisting strands of red, green, yellow and blue cascading down their necks. Some of their ample multi- strand necklaces use rod- shaped spacers of bone, ivory or horn and curiously they bring to mind, ancient Egyptian neck ornaments- while the clasps are fashioned from sections of conch shell from the Bay of Bengal.
Carnelian, once a form of currency, is still in demand and combined with glass, rock crystal, brass, and ivory beads to create bold kaleidoscopic compositions.
All of these decapitated heads, tiger's teeth, hornbill beads, and spiked arm ornaments have an unmistakable aura of manliness. The women wear necklaces strung with variously mounted beads and mass their seed bead necklaces in a way that sends supplely twisting strands of red, green, yellow and blue cascading down their necks. Some of their ample multi- strand necklaces use rod- shaped spacers of bone, ivory or horn and curiously they bring to mind, ancient Egyptian neck ornaments- while the clasps are fashioned from sections of conch shell from the Bay of Bengal.
Carnelian, once a form of currency, is still in demand and combined with glass, rock crystal, brass, and ivory beads to create bold kaleidoscopic compositions.
In the typical Tibetan bone jewellery, be it Yak for the making of prayer beads and camel for creating bracelets and necklaces, auspicious symbols are painted on them with a stylus in a tattoo style.
The eight auspicious signs are called Ashtamangala. They consists of the white parasol, two fishes, Sankha, Dhvaja, Srivatsa, Kalasa, Padma, and Chamaru. These appear all together or singly as a frequent decorative motif in wood, stone, metal, and painting. These are believed to represent the gifts given by celestial beings to Sakyamuni on his attainment of Enlightment of Buddhahood. The white parasol protects one from evil desires. The two fishes symbolising beings rescued from the ocean of misery of earthly existence. Sankha, the white conch shell, symbolises the blessedness of turning to the right and proclaim the glory of the saints bu its humming sound. Dhvaja, the banner signifies the victory of Buddhism and Srivatsa, an endless knot or mystic diagram symbolises the endless cycle of rebirth. Kalasa, the vase is the treasury of all spiritual wealth and it also holds Amrita or elixir of immortality. Padma symbolises purity, Chamaru, the fly whisk symbolises the Tantric manifestations and it is made of Yak tail mounted on a silver staff. It is used during ritual recitation and fanning deities on an auspicious religious ceremony. These eight auspicious symbols are usually displayed during the performance of Vrata ceremonies, consecration of a new house, and an elaborate Fire sacrificial ceremony marked on paper, cloth or metal.
Himalayan Jewellery.
The people of the Himalayas, the snow capped domain embracing Tibet, Ladhak, and Bhutan, wear copious amounts of jewellery over their clothing. The itinerant Newani smiths of Nepal made repousse, chased, and engraved metal jewellery for centuries, fostering cultural interaction with China, Mongolia, as they trekked from village and tribe to tribe. For centuries gem stones have been attributed with talisman qualities, a magical substance to ward off evil effects of jealousy and disease!
The luminous turquoise that graces so many pieces of Himalayan jewellery is considered a living stone; it shares the ultimate fate of the mortals that wear it. Because of its colour- symbolizing water, the sky, and air, it is thought to counteract evil forces and make the wearer brave and invulnerable. Seeing I in a dream is believed to bring good luck.
The weighty head- dress favored by women in Ladhak- red fabric stretched across an oblong felt frame and studded with pieces of turquoise -is supposed to represent an erect swollen- hooded cobra. They are braided into the wearer's hair and complimented by astrakhan ear- flaps tacked on to the hair. The bits of turquoise laid into the mosaic girandoles that Lhasa women wear are carefully matched for colour.
Turquoise is also liberally used in the making of gold, silver, or copper amulet boxes which can be round, square, or oval or mandala shaped. These charm cases contain spells or prayers designed to appease evil spirits, and their symbolic decoration is believed to strengthen the power of their sacred contents.
In the Philippine islands, Glass beads is by far the most popular trade item among the natives, and it continued to arrive from Venice and Bohemia by way of the Spaniards. As itinerant craftsmen roamed the Islands, introducing bead work, men took to wearing beads in ritual as indications of their status as warriors and head- hunters.
Coral, another prized substance, was thought to bring women strength and good luck and have a favorable effect on menstruation. The most desirable variety, Italian coral, was a scarce commodity worn only by members of the wealthiest class. Marco Polo noted that Tibetans ranked coral among precious stones and used it to adorn the necks of their women and idols. According to In the Buddhist belief, blue represents air and red represents light; jewellery that combines the blue of the sky and the glowing red of the fire effects a fusion of natural energies.
Amber, an earth symbol, protects against jaundice and cures those afflicted with it. The most coveted amber came from an extinct species of conifer that flourished on the shores of the Baltic sea during the Eocene period. Prizes for its distinctive golden color, it was imported into the Himalayan region by way of Russia and Turkestan. If Baltic amber was unavailable, less desirable redder varieties were used.
The beads known as dzi, a prized and celebrated component of Himalayan necklaces, are believed to be of super- natural origin. According to one legend, these brown or black agate beads once adorned the gods, who discarded any that were found to have a defect. Other legends have it that they are petrified insects or the droppings of a mythical bird that feeds only on precious stones.
Jewellery from this part of the world has a rugged quality. Like its wearers, some of whom are nomadic, it must not only withstand the rigors of an itinerant life, but contend with the many forces that are lurking in the mountains and which, talismans are expected to keep at bay.
Among the tribal cultures of the hill, the women are often loaded down with massive amounts of silver ornaments. Everything- a pig, a horse, an opium crop, bride price- is measured in terms of silver. Consequently, jewellery is considered a readily negotiable currency.
The tribals of Burma and China highlands have developed a keen feeling for purity of form and its most familiar expression is the torc or Hansuli as called in tribal India. These neck rings with clean unbroken lines sound the dominant theme. A few days after the birth of a child, at the naming ceremony, the infant is given a torc which must be worn at all times because it keeps in the wearer's soul and protects against sickness. It also signifies that the child has entered the human world. If he or she should die before this ceremony, it can be performed still and the there will be no funeral, because the child still belongs to the spirit world. The original neck ring is often melted down so that the growing child can be fitted with a bigger one.
The Hmong or Meo hill people are partial to multi- tiered tubular neck rings and often attach lock shaped pendants symbolically to prevent the soul from escaping. The Akha tribes prefer to flawlessly smooth flat neck rings. The Lisu spangle their clothing with silver buttons and fancy dangles.
The repertory of bracelets among highland groups is equally sophisticated. Here, too, forms and techniques can vary considerably and include wrought and embellished with twisted or spiraled wire. In addition to the impressive array of silver, women wear a slender brass bracelet on the wrist at all times to help keep their souls inside their bodies.
Indonesia, although exposed to successive incursions reaching back to the Dongson period (bronze age) and continuing with India, China and eventually the influence of the Islamic religion, has managed to preserve its rich and varied local cultures. Its spices lured merchants from all over mainland Asia. As traders from the sub- continent shuttled between the Far East and the Mediterranean, Java and Bali became Indianized. The Bhuddhist temple of Barabudur in Java shows people and trees alike bedecked with beads and gems, exuding sensuality. Between the 6th. and the 8th. centuries, local goldsmiths expanded their range to include finely detailed ear ornaments as well as rings that featured chased designs and cabochon- cut garnets, carnelians, amethysts, rock crystal, lapis- lazuli, moon stones, sapphires, and emeralds. The beads circulated by Indian and Muslim merchants were in such demand that as recently as the early 20th. century, a slave could still be traded for a single multi- colored bead! On the island of Borneo, Roman period beads were worn on the wrist, or a symbolic design was tattooed on the wrist to prevent loss and thereby keep the soul from leaving the body. Deft weavers and embroiderers, the people of Indonesia routinely enhance their textiles with beadwork to attract protective spirits and maintain harmony between humankind and the cosmos.
Jewels of polished bronze whose very gleam was thought to deflect the weapons of their enemies was worn by men. Indonesian women wear bulky, double spiral ear rings called Padung- Padung, that weigh more than 2 kilos and need to be secured to their head- dresses. These ear rings, wrought from slender silver ingots and worn asymmetrically, are brought out for major rites of passage, and worn during sowing and harvest festivities.
Jewellery also figures in the elaborate matrimonial system of exchange between so called wife- givers and wife- takers. Wife givers do not surrender their daughters and sisters to their duly appointed wife- takers without sending along an array of gifts ranging from textile to raw or cooked food and blessings guaranteeing fertility. To balance out the marriage bargain, the wife- takers reciprocate with gold jewellery, livestock, weapons, and the promise of physical protection.
Jewellery designs inspired by houses, boats, and other man- made strictures are a particular feature in Indonesia. On Timor, old European feature coins were melted down and recast as bracelets with realistically detailed miniature houses. Replicas of boats adorn pendants worn by chiefs from Flores. In a curious turnabout, representations of neck rings are found adorning houses on Neas, and the objects called "Mamuli", which enhance contact with the spirit world but are also given as gifts, appear depicted on funerary stone slab on Sumba.
I the Philippines island the ethnic Chinese brought gold, silver, jade, and other goods and the groom's mother still drops two beads into a cup from which newly weds drink, so that they may remain together always.
As one might expect in a region dotted with thousands of islands, sea shells of all kinds figure prominently in jewellery. On Mindanao, the Bagobo people believe that closed circles form an impenetrable barrier which protects them from baleful influences and that no harm can come to them so long as they are wearing bracelets cut from shells.
Mother- of- pearl adorns the headgear of unmarried men in northern Luzon as well as the belts or woven rattan chest ornaments that once were the prerogative of head- hunters. One raw material can also as another; the crocodile teeth that head- hunters suspend from their ceremonial necklaces might actually have been pieces of shell carved to look like the real thing!
Over the millennia, ornaments have been the human body's constant companion, from the moment wailing newborns enter the world to the moment the wizened and time worn breathe their last. People have taken these prized possessions with them to the grave or cremation pyre, a final escort to help them negotiate such momentous transitions as may await them in the hereafter. These treasures are as fabulous as the hoard in Ali Baba's cave, only they are scattered all over the world. How do things stand with them now?
Nostalgia is growing for cultures that are no more, for those essential objects once so tightly woven into the fabric of life and which would have since faded into oblivion, had collectors and museums not taken them under their wing. Think of the many cultures that have died away, forsaking that which is most intimate, yet most public about them; their jewellery. Jewellery invariably embellished its wearers, whether it was worn to seduce, or flaunted as insignia of power; whether it absorbed the warmth of their bodies or as was sometimes the case, injured or maimed them. Jewellery reached into every facet of life and encoded a bewildering complex of meanings- codes to what we have all too often lost the key.
We have lost tangible artifacts, but the loss in terms of symbolic content is less grievous. The absence of perishable materials has left gaps in the history of humanity. Once copious well- springs of imagery, have dried up. The collective memory of non-literate peoples, their oral traditions, are apt to fade away. We will be the losers ultimately.
A source of growing concern is that international standardization may be having a leveling effect on traditions that still combine technical expertise and imaginative design. Cargo upon cargo of beads flooded Africa in the 19th. century, but natives adapted them to regional styles and altered and rearranged them to suit individual tastes.
As things now stand, some of the world's capacity to make ethnic jewellery is irretrievably lost. Much of what is still being produced is geared to the tourist trade. Age- old craft traditions are slipping away; nothing , or precious little is taking their place.
Beads are the oldest form of jewellery. They were often magic talismans or simple decoration. Here is a mixture of South- American stylised frog and bird probably to bring the wearer the mystic gift of life. Thre are pre- Columbian bead jewellery, Egyptian bead necklaces, of cylindrical agates and coloured glass, spherical cornelian beads in a massive necklace, and bead necklaces from the French North Africa.
Gold funeral mask with emerald eyes and red paint. These masks were often laid on top of the corpses' folded clothes in Peruvian tombs. As the climate there is very dry, these were well preserved, Chimu- 12th--13th. century.
The back of a Taviz or Bazuband which sometimes contained a secret drawer and was worn around the upper arm as a talisman. These talismans were a fine example of Moghul enamelling technique .
Large pectoral ornament were very popular in Egypt using semi- precious stones and glass. The Egyptian jewellery has a complicated symbolism and ritualistic in design. The traditional pectoral will have a winged scarab representing the Sun God Khepri, a symbol of resurrection and rebirth, The sun will be made out of chalcedony. The scarab will be shown as pushing, instead of the usual dung ball, the sacred widget eye, the left eye of the sun god Horus in a celestial bark. Within the crescent moon will be the figure of Tutankamen supported by ibis- headed Thoth, god of the moon and the falcon- headed sun god Re. The first figures will be wearing the crescent moon and the third the sun disc. To the left and right, serpents will symbolise the north Lotus buds form the base. Carnelian, blue lapiz- lazuli, calcite, turquoise, obsidian and multi- coloured glass faience is used to create these masterpieces.
Jewllery is ritual sometimes like the Linga covers that adorn the Shiva lingas In many Hindu Shiva temples and these are exquisitely carved and chased with the mask of Shiva.
Tibetans and the auspicious symbols are all incised into them, In the typical Tibetan yak and camel bone jewellery, be it Yak for the making of prayer beads and camel for creating bracelets and necklaces, auspicious symbols are painted on them with a stylus in a tattoo style, like two white parasols and two fishes. A dwajs or flag, pot or kalasa and the hand fan called Padma Chamaru.
The eight auspicious signs are called Ashtamangala. They consists of the white parasol, two fishes, Sankha, Dhvaja, Srivatsa, Kalasa, Padma, and Chamaru. These appear all together or singly as a frequent decorative motif in wood, stone, metal, and painting. These are believed to represent the gifts given by celestial beings to Sakyamuni on his attainment of Enlightment of Bhuddhahood. The white parasol protects one from evil desires. The two fishes symbolising beings rescued from the ocean of misery of earthly existence. Sankha, the white conch shell, symbolises the blessedness of turning to the right and proclaim the glory of the saints bu its humming sound. Dhvaja, the banner signifies the victory of Bhuddhism and Srivatsa, an endless knot or mystic diagram symbolises the endless cycle of rebirth. Kalasa, the vase is the treasury of all spiritual wealth and it also holds Amrita or elixir of immortality. Padma symbolises purity, Chamaru, the fly whisk symbolises the Tantric manifestations and it is made of Yak tail monted on a silver staff. It is used during ritual recitation and fanning deities on an auspicious religious ceremony. These eight auspicious symbols are usually displayed during the performance of Vrata ceremonies, consecration of a new house, and an elaborate Fire sacrificial ceremony marked on paper, cloth or metal.
As we range through this vast world, the importance, the vital importance of something we might idly dismiss as trivial or superfluous becomes all too apparent. No culture fails to lavish time and energy on the making and wearing of body ornaments. Every culture invests it with meaning, and turns it into an iridescent language that can be passed on from one generation to the next.
All civilizations express themselves through body ornamentation whether or not they have developed writing. It is anything but a subsidiary or marginal means of communication. Seldom has a language thrived on so many materials, colours, forms and technical skills. Every conceivable resource, every available substance, from the crudest to the most sophisticated, is used. The body becomes a kind of book that chronicles not only life's routine activities, joyous occasions, and momentous rituals, but death and our ceremonial attempts to lessen the sting of its finality.Acknowledgements- source- with grateful thanks to Graham Hughes for his expertise on ethnic jewels.
Author
Kamala Vasudevan Kamala Vasudevan is an eclectic mix of antique collector, art History writer, travel writer and a raconteur of Hindu mythology. Her interests include books, on art mostly, antique jewelry, about which she has written in many magazines, and Classical Music in which she was well trained. She had written several small books for an E- Book venture, which was translated into several European languages and few other dotcoms as well on the traditions of various cultures in India. She had been in love with antiques from very early age and believes that a country's true history and identity lie in our traditional arts and crafts and the people who create them, specially those executed as votive offerings because the craftsmen who made them were single minded in their devotion, untainted by commercial considerations, and aesthetics were their final aim