Van Gelder Indian Jewellery

2011

www.vangelderjewellery.com

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

info@vangelderjewellery.com

www.vangelderjewellery.com

Ganesha statue in Swami technique,

Theelephant headed God, the
Remover of Obstacles, God of Wisdom.
He wears a crown set with rose cut
diamonds. Swami jewellery is an AngloIndian 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 19 th century

A gold Ganesha statue in Swami technique

India, Tamil Nadu, late 19 th century

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, 20 th century

A gold necklace consisting of 4 open

worked amulet boxes, each set with rubies,

diamonds and emeralds and suspended
gold beads

India, Gujarat
19 th century

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 19 th century

A gold necklace decorated with 4 rosettes,

each set with turquoise and spinel, the

centerpiece is set with turquoise and diamonds

India, Rajasthan, Bikaner 19 th century

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,
19 th century

actually originated in the Middle East.

are common when worn in the nostril.

nosering, set with ruby, turquoise,

Nose rings first appeared in India

Circular barbells, also known as nath,

and pearls

during the Moghul period around the

are worn in the septum (the cartilage

16 th century. In fact, excavations in India

between the nostrils), and straight

Hindu, India, Uttar Pradesh,

have not turned up any evidence of nose

barbells adorn the area on the bridge of

Benares/Lucknow, 19 th century

rings in India prior to the 16 th century.

the nose between the eyes. Its possible

The nose rings that first appeared in

for septum rings to be so large that

A nose in India its an age old tradition

India were not actual rings, but were

they make it difficult to eat.

thats heads back centuries and has

small, flat, ornamental patterns - often

significance even today. In some parts

flowers - that were held in place by a

Some nose rings are so heavily

of India the nose ring is never removed

screw on the inside of the nostril.

ornamented by jewels, pearls and so

once a woman is married, and thus a

The type of nose ring is largely

on, that chains, which are attached to

nose ring is often considered to be a

dependent on the area of the nose

the hair or over the earlobe are used

sign of marriage. Nose rings, although

where the nose ring will be worn. For

to help support the weight of the nose

closely associated with Indian culture,

instance, studs, also known as phul,

ring.

A 20k gold Nath, a traditional

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

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 20 th 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

said that to the north of this division

The forms of jewellery and ornaments

of many typical wedding ornaments.

marriage symbol ornaments are worn

also indicate the wearers geographical

No single ornament, however, serves

on the head, nose, wrist and toes; and

place of origin, religion and also caste.

this purpose throughout the Indian

to the south they are worn suspended

In some areas, the primary marriage

subcontinent, as, for instance,

from the neck. All the matrimonial

symbol ornament must be of gold, a

thewedding ring does in the West.

ornaments and jewellery have the basic

metal considered to be ritually pure and

If an imaginary line is drawn between

function of protecting against evil

sacred to the gods.

northern and south India, it can be

spirits

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, 19 th 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 16 th 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 20 thcentury

17

12

A pair of earpendants set with

rockcristal and suspended pearls and

blue glass beads

India, Rajasthan, ca 1940

13

A pair of gold earpendants set

with diamonds and suspended pearls

with green glass beads, the reverse
is decorated with multi coloured
enamelwork

India, Rajasthan, ca 1940

14

A pair of gold earpendants set with

diamonds, emeralds and suspended

pearls,

India, Rajasthan, ca 1940

18

15

A gold necklace set with white

saphires and emerald drops, the

reverse is decorated with multi
colored enemalwork

India, Bikaner, 19 th century

19

16

A 4 line necklace consisting of

natural pearls and a gold clasp in fine

repous workmanship

North India 20 th century

17

A pair of gold domeshape

earpendants set with diamonds and

suspended pearls

India, Rajasthan, first quarter

20 th 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

20 th century

21

19

A pair of gold earpendants set with

rubies an emerald and a rim of pearls

North India, ca 20 th century

20

A gold necklace consisiting of

birdssegments set with ruby and

emerald and a centre pendant set with
rubies, emeralds and diamonds

India, Rajasthan, 19 th century

22

21

A Balewara, a traditional

gold necklace, decorated with a centre piece

set with diamonds, emeralds and rubies

India, Rajasthan, Bikaner

19 th 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 20 th century

23

23

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

ina 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.

India, Rajasthan, 19 th century

25

24

A gold traditional necklace

India Rajasthan 20 th 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 19 th century,

106.73grams

28

28

A pair of traditional gold

ear pendants with suspended gold

leaves

South India, Tamil Nadu

first quarter 20 th century

29

A gold traditional necklace

India Maharastrha 20 th century

29

30

A gold bangle

India, Gujarath, 20 th century

30

31

A plain gold necklace

India, Gujarath, early 20 th 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 20 th 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

33

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 19 th 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, 19 th 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, 19 th 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,

19 thcentury

38

39

The middle pendant depicts the name

On the reverse, the Vishnupada, or

This necklace was worn by pilgrims to

of Shrinathji, an incarnation of the

feet of Vishnu, are shown, within a

the shrine of Shrinathji.

Hindu god Vishnu, on one side. The

white circle with a green rim on a blue

Illustrating Vishnus footprints with

script is in Devanagari characters

ground, representing the primordial

objects connected to him is traditional

Vishnu is one of the three gods in the

waters.

in Hindu iconography. Pictures of his

great Hindu trinity. The other gods

footprints are no less revered than

are Shiva and Brahma. Shiva is the

The feet are adorned with symbols

other painted and sculptured images of

destroyer, Brahma represents creation

such as the axe, and the fish, objects

Vishnu.

and Vishnu is the preserver. The name

that are connected with episodes in the

Shrinathji is reserved in gold against a

mythology of Vishnu.

Showing reverence to the feet of a

red background, the whole symbolising

deity, and elder, a holy man, or someone

a flowering Lotus, surrounded by red

of higher status is common practice

flowers and green leaves, and a bird

in India. An amulet with the feet of

on either side. To the left and right are

Vishnu around the neck keeps the god

three pendants, each decorated with

close to the heart and identifies the

birds perching on a flowering

wearer as a Vaishnavite, follower

tree.

40

of Vishnu, and in the particular

example as a Shrinathji pilgrim, a

Seven is, as is nine, a very auspicious

member of the Vallabhacharya sect. A

number for Hindus. Hindu cosmology

song in praise of Vishus feet concludes:

conceives of the universe as containing

This very sacred Pada (Vishnus feet)

seven planets and two personifications

has bestowed on the lives of many great

of the moon cycle, all designated as

saints a place of sublimity.

celestial deities. The seven planets

correspond with seven Hindu gods and

The form of an arrowhead had had

the seven days of the week. The white

great symbolic meaning since ancient

to possess the power to destroy the

light from the sun is a combination of

times. The stone arrowhead spearheads

evil spirits. To obtain this protection, a

seven colours of the spectrum. Each

and axes were among mans earliest

pendant in the form of an arrowhead

planet sends of one colour.

lethal weapons. The power to end a life

was worn around the neck. Eventually,

was highly respected by the ancients,

the simple arrowhead evolved into a

It is believed that the sunlight, so as

and the instruments themselves were

more stylised and embellished form,

such each of the seven cosmic colours,

regarded as magical. Even the mere

although the decorations should

have a special effect on every living

form of the arrowhead was believed

reinforce the amulets auspicious power.

creature on earth.

41

38

A pair of domeshape earpendants set with

rubies and suspended pearls

India, Rajasthan second part of 20 th century

39

A pearl and ruby necklace consisting

of suspended gold heartshape pendants

each set with diamonds and decorated
with safed chalwan enamelwork

North India, 20 th century

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.

North India, 19 th century

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

Designs and symbols on traditional Indian Jewellery

Enamelling

Arrowhead

Conch Shell

The most reputed af all the centres of

The form of an arrowhead has had a great

The conch shell, obtained from river or

enamelling in India is Jaipur. The enamellers

symbolic meaning since ancient times.

sea-beds is considered one of the most

of Jaipur have reached such perfection in

Stone arrowheads spearheads and axes

auspicious objects used during rituals in

this craft that they remain unsurpassed

were among mans earliest lethal and the

Hindu temples.

throughout the length and breadth of the

instruments themselves were regarded as

Hindus believe that the sound of the conch

country. Jaipur and to some extent Alwar

magical. Even the form of the arrowhead

shell is holy and will ward off misfortunes. In

- had the distinction of being the best

was believed to possess the power to

Hindu families, all religious and auspicious

known centres for enamelling during the

destroy the evil world. To obtain this

functions start after the conch shell is blown.

eighteenth and ninetheenth century, the

protection a pendant in the form of an

During ancient times, the blowing of the

craftsmen traditionally being thought to

arrowhead was worn around the neck.

conch shell was the announcement of war,

have come from Lahore. Enamelling was

Eventually, the simple arrowhead evolved

heralding battles to come.

initated in Jaipur during the reign of Sawai

into a more stylised and embellished form,

Man Singh I.

although the decorations should reinforce

Birds and Animals

Handcrafted Indian enamel jewellery Rita

the amulets auspicious power.

Only those birds and animals that

Devi Sharma M. Varadarajan p25

have sacred associations are, and

Mango

can be, used on Indian jewellery and

Kundan

Mango, the luscious juicy fruit growing

other crafts forms.

Kundan is probably the oldest form of jewel

abundantly all over India, is the most

crafting in India. Small pieces of pure gold

popular motif in almost all craft objects,

Peacock

are hammered into paper-thin sheets and

including jewellery.

Among birds, the peacock is the most

encased around the gems to hald them in

The popular story often narrated avers that

important, not only because of its beauty,

place. The state of its origin is Rajasthan,

God in one of his creative provocations

elegance, colourful body and features, but

where the main centres for kundan work are

extracted the juice from a mango tree

because it is the VAHANA (mount) of Shiva

Jaipur and Bikaner

as paint and drew the gure of a woman

and Paravatis second son Skanda also

Handcrafted Indian enamel jewellery Rita

who looked so beautiful that put even the

known as Kumara or Karttikeya.

Devi Sharma M. Varadarajan p30

apsaras (celestial nymphs) to shame.

The peacock is admired all over India.

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

pearl. For many centuries the best quality

Is associated with Brahma, the Creator of

pearls were found in the Persian Gulf.

the Universe. This bird inspired the Indian

Until the 16th century the pearl trade was

artists over the centuries especially in Tamil

dominated by the Arabs and Persians

Nadu.

but, after the Portugese colonisation, the

Portugese took over the trade.

Elephant

Pearls formed an important asset of their

Is associated with Indra, lord of the celestial

Far East Trade.

world, whose mount is the white elephant

After the Arabs regained control over

Airavat.

the area, they also took over the trade

Elephants also ank entrances to most royal

monopoly and this was in fact nanced by

palaces.

the Indians.
The pearls came to shore at the harbour

Nandi

city of Basra, hence the name Basra Pearls.

The sacred bull Vahana(mount) of lord

The pearls were send to the Persian city of

Shiva, is the symbol of his lords divine

Hormuz where the trade took place. From

nature.

here the pearls were shipped to Mumbai,

The Nandi is often shown in a sitting posture

where the Indian trade took place.

at the entrance of Shiva temples.

From there Mumbai the pearls were

distributed all over the country and were

Makara

even sent overseas to the West.

A mythical animal and the Vahana(mount)

Unfortunately, through extensive shing

of the sacred river goddess Ganga.

and pollution, there are no longer pearls

to be found in the Persian Gulf. The Basra

Basra Pearls

Pearl trade ended in the late nineteenth

Throughout the history of Indian Jewellery,

century.

no gem has been prolically used as the

44

A gold ring, set with diamond

and emerald

North India, 20 th century

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

info@vangelderjewellery.com

www.vangelderjewellery.com

Design & printing BibloVanGerwen

48

Photography

Ton van der Vorst

Text

Bernadette van Gelder

Nolle Viguurs-van Gelder

Van Gelder Indian Jewellery

2011

www.vangelderjewellery.com