innovation in coin jewellery fashioned with enamelling and semi

INNOVATION IN COIN JEWELLERY FASHIONED WITH
ENAMELLING AND SEMI-PRECIOUS STONES
By
MANPREET BHATTI
M/DS/11/16
Submitted
To
IN PARTIAL FULFILLMENT
OF THE REQUIREMENT FOR THE DEGREE
OF
MASTER OF DESIGN
DEPARTMENT OF DESIGN SPACE
NATIONAL INSTITUTE OF FASHION TECHNOLOGY
MUMBAI
2012
FACULTY GUIDE
MRS. RASHMMI GULLATI (Assistant Professor, NIFT)
i
NATIONAL INSTITUTE OF FASHION TECHNOLOGY
MUMBAI
2013
INNOVATION IN COIN JEWELLERY FASHIONED WITH ENAMELLING
AND SEMI-PRECIOUS STONES
By Manpreet Bhatti
M.Des, M/DS/11/16
Submitted by Ms. Manpreet Bhatti to NIFT in partial fulfillment of the requirements for
the degree of Masters in Design of the National Institute of Fashion Technology at
Mumbai and hereby certify that in the judgment of the following members of jury it is
worth of acceptance:Name
Institute/ Organization
Signature & Date
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Remarks regarding fulfilling further requirements, if any:_____________________________________________________________________________________________________
_____________________________________________________________________________________________________
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Signature of CC- Design Space
Date:
ii
DECLARATION
The work in this project titled “Innovation in coin jewellery fashioned with
enamelling and semi-precious stones” is authentic and original and is the outcome of
my contribution & research. The project was carried out under the guidance of Mrs.
Rashmmi Gullati, Assistant Professor at NIFT Mumbai. No portion of this work has been
submitted in support of an application for another degree / qualification to NIFT or any
other university or professional organization.
______________________________
Name: Manpreet Bhatti
Place: Mumbai
Date:
iii
Acknowledgements
I would never have been able to finish my dissertation without the guidance of my
Mentor, help from friends, and support from my family.
I am highly indebted to Mrs. Rashmmi Gullati (Assistant Professor, NIFT), for her
excellent guidance, caring, patience and her unselfish and unfailing support and
guidance and constant supervision as well as for providing necessary information
regarding the project, without her support it would have been very difficult to
complete the project. I will never forget. Mrs. Sharmila Dua who have been my
inspiration throughout this project.
I would like to thank my Mrs. Disha Gupta (CC-Design Space, NIFT), Mr. Nitin
Kulkarni (Assistant Professor, NIFT), Rebecca Philip (Assistant Professor, NIFT)
for their patience, motivation, enthusiasm, and immense knowledge and their
guidance which helped me during the journey of research and writing of this
thesis.
The designs would not have taken shape without the help of Meenakari artisans
and I want to thank them for helping me in getting the prototype done.
Last but not the least; I would like to thank my parents, my friends and my loved
ones, who have supported me throughout entire process, both by keeping me
harmonious and helping me putting pieces together. I will be grateful forever for
your love.
I would like to thank God, the almighty for having made everything possible by
giving me strength and courage to do this work.
iv
Abstract
India and jewellery, jewellery and Indian women - the terms are linked inherently.
Indians have been using jewellery for adornment since centuries. The significance
of jewellery in the country is evident from the fact that on many auspicious
occasions, jewellery forms a part of gifts. At the time of wedding as well as
numerous other occasions, a woman is gifted jewellery by her parents and relatives.
Although the gift is meant to give her security in contingency, ornamentation is an
obvious purpose. During weddings and on special occasions there is tradition of
gifting gold and silver as lucky gifts. And also over the centuries, many ancient, rare
and ultimately valuable gold, silver coins are in danger of being melted down.
The convention of jewellery in India was introduced and has been propagated since
a very long time and is very old. Coins might at first appear to be purely decorative
elements in Indian jewellery and on costumes; however, as is typical of Indian
culture, almost every component in jewellery has more than a decorative
significance, and this also applies to coins.
The main objective of the study was to collect such coins which are currently
unpopular or unfashionable and converting them into beautiful ornamented piece
of jewellery, especially if a person is not averse to a bit of speculation and /or has an
interest in numismatics. The study also aimed at increasing the longevity and
usability of old rare coins by beautifully doing enamel on them, thus preserving
them and increasing their aesthetic value and Increasing the beauty and historical
significance of coins by using coins as jewellery which would be a way of
appreciating coins.
The study is very exploratory as it required exploring the different techniques of
enameling on coins and from the exploration it was found that champlevé was the
best suitable technique for enameling on coins because in this technique enameling
was done only on background of coin thus not disturbing the designs and motifs on
coins. The study in itself is very experimental because of the amalgamation of
v
Meenakari and coin jewellery, and to find the acceptance of this amalgamation of
such kind of jewellery among the people.
Design and product development included six stages such as structure forming of
jewellery, soldering, polishing, stone setting, gold/silver plating and last and final
step of meenakari. In the study it was found that enameling is possible on pure
silver and gold coins, but in the case of Old Indian coins, the characteristics of coin
metal has to be carefully studied before doing enameling-because these coins may
have contents of Nickel and Zinc which produces bad results in enameling and
hence this was a limitation in the study.
From the last step in feedback it was found that women preferred meenakari to
some extent only and opted for coin jewellery with semi precious stones than
Meenakari on coins. Thus in the further scope of research, more designs should be
made so as to preserve the old coins and increasing their aesthetic value and
Increasing the beauty and historical significance of coins by converting them into
beautiful ornamented piece of jewellery.
vi
Index
1. Chapter 1: Background
1
1.1.
Introduction
2
1.2.
Problem Statement
5
1.3.
Research Objective
5
1.4.
Significance of the Research
5
2. Chapter 2: Review of Literature
2.1.
7
History of Jewellery in India
8
2.1.1. Jewellery of Indus Valley
8
2.1.2. The Kushana Empire and Silk road
2.2.
History of Meenakari in India
10
12
2.2.1. History of Meenakari
12
2.2.2. Types of enamelling
18
2.2.2.1.
Jaipur
20
a.
Jaipuri Enamels
24
b.
Kundan
26
c.
Adornment for Men and Women
27
d. Nav-Ratna
29
2.2.3. Materials
30
2.2.4. Tools
30
2.2.5. Process
30
2.2.6. Motifs
32
2.2.7. Ancient Techniques
33
2.2.8. Innovations
34
2.2.9. Challenges
34
vii
2.2.10. Techniques of Artistic Enamelling
34
2.3.
37
History of Coin Jewellery
2.3.1. Later British Indian Coinage
42
3. Chapter 3: Research Design and Methodology
3.1.
Research Design
44
45
3.1.1. Schedule
46
3.2.
46
Methodology
4. Chapter 4: Research Findings
48
4.1.
49
Secondary Research
4.1.1. Coin Jewellery
49
a. TBZ Kasumala collection
49
b. Kalyan jewellers- Kasumala collection
50
c. Vummidi Bangaru Jewellers- Kasumala collection
51
d. Cut coin jewellery art
51
e. Coin jewellery from C and G brand
52
f. Coin jewellery from Erez brand
53
g. Coin jewellery from Etsy.com
53
h. Coin jewellery by other artists
54
4.2.2. Meenakari jewellery
54
a. Tanishq Gold Glam collection
55
b. Nayaab Jewels
55
c. TBZ-Dohra collection
56
d. Tanishq- Jodhaa Akbar collection
57
e. Chedda jewels
59
viii
4.2.
f. Zoya collection
59
g. Manish and Amrapali collection
61
Primary Research
64
4.2.1. Exploratory Research
64
a. Interview with Meenakari Artisans
64
b. Interview with Vivek Das (Enamel Artist)
67
c. Exploration of Enamel Techniques
69
d. Exploring Coins available in Market
71
4.2.2. Experimental Research
73
a. Pilot study of consumers
73
b. Experimenting Meenakari on all available Shapes of
coin
88
5. Chapter 5: Analysis of Data
89
5.1.
Analysis of Secondary Data
90
5.2.
Analysis of Primary Data
91
6. Chapter 6: Design Explorations
93
6.1.
Mood Board
94
6.2.
Concept Board
94
6.3.
Development of Sketches
95
6.3.1. Final Sketches
6.4.
97
Experimentation of Technique
99
7. Chapter 7: Design Development
7.1.
101
Making of Meenakari coined Jewellery
7.1.1. Stage 1
102
102
ix
7.1.2. Stage 2
103
7.1.3. Stage 3
103
7.1.4. Stage 4
104
7.1.5. Stage 5
105
7.1.6. Stage 6
106
7.2.
Feedback
107
7.2.1. Feedback of consumers
107
a. Purpose
107
b. Procedure
107
c. Findings
108
d. Analysis
113
7.2.2. Feedback of Artisans
113
8. Chapter 8: Conclusion and Further scope of study
114
8.1.
Conclusion
115
8.2.
Limitations
116
8.3.
Further scope of study
117
References
118
Bibliography
121
Glossary
122
Annexure 1
124
Annexure 2
129
Annexure 3
131
Annexure 4
136
Annexure 5
137
x
LIST OF PLATES
Plate 1.1
Medallion-Disc with Hariti
2
Plate 1.2
NISKA (Necklace of coins-Front & Reverse)
3
Plate 2.1
Dancing girl of Mohenjo-Daro c. 2500 BC
8
Plate 2. 2
Harappan map showing the river Sarasvati
8
Gold and agate (a colored mineral stone) were used to make
9
Plate 2. 3
these pieces of jewellery
Plate 2.4
Gold Kushana coins (photo: public domain)
10
Plate 2.5
The Silk Road
10
A necklace of coins delicately strung with very small ancient
10
Plate 2.6
Plate 2.7
Plate 2.8
Plate 2.9
lapis lazuli beads
Pendant with Kushan and Roman coin designs
11
Akbar the Great - the most enlightened ruler in the history of
12
the Mughal Empire
Enameled hilt and scabbard mounts, from Jaipur, 1850
(Victoria and Albert museum, London
Necklace
Plate 2.10
13
14
20th century AD; Delhi A necklace studded with stones and
pearls the enameled is reverse in also shown
Pendant (Front and Reverse); North India; 19th century, H; 13 14
Plate 2.11
cm W: 11 cm, Christies Images; the large pendent, Richly
enameled and set with Diamonds,
Plate 2.12
Dasti (Bracelet- Front and reverse)
17
Plate 2.13
Enameled box from Jaipur, (National museum, New Delhi)
20
Plate 2.14
Raja Man Singh I of Amber
20
Gold Necklace; 19th century AD, Rajasthan A hansuli shaped
21
Plate 2.15
like two peacocks, with pearl Droplets. The enameled reverse
in shown in the Outer circle
Kada (bangles); North India; 18th century, Terminating in
Plate 2.16
traditional makara-head Finials, the bangles are a design
board of motifs and a color palette of enamels.
xi
22
Left to right: an enameled armlet which depicts Radha and
Plate 2.17
24
Krishna in a grove, 19th century from Jaipur (National
Museum, New Delhi)
Plate 2.18
Plate 2.19
Plate 2.20
Plate 2.21
Plate 2.22
Sarpeech from the Late Mughal period
25
Necklace (Front and Reverse); North India; early 19th
26
Century, Private collection
The Last Mughal emperor by William Dalrymple decked with
27
ornaments.
Mughal queen decked with ornaments from head to toe
28
Necklace; Mughal period, 18th century AD, The enameled
29
reverse of a ‘Navaratna’
Plate 2.23
Process of enameling
31
Plate 2.24
Furnace
32
Plate 2.25
Motifs
33
Plate 2.26
Coins of Shah Dynasties
37
Kullu, Himachal pradesh; Necklace (pathachong; kachong; or
37
Plate 2.27
kathmal) always in odd numbers. In the middle there are
pendants that are coins
(left); Two girls from Madras, From a photograph taken in
Plate 2.28
38
Madras in 1891
Photographer unknown
Plate 2.29
(right); Chetty girls from Madras. From a photograph taken
in Madras in November 1891, Photographer unknown
Andhra Pradesh; Lambadi women wearing a necklace
Plate 2.30
38
38
(rupaiya har) of authentic silver coins and other ornaments.
Similar coin necklaces are used throughout India, Each
having its particular local name
Junagadh’ Gujarat; Man wearing a gold necklace (jhuman) of
Plate 2.31
39
gold Sovereign arrowhead and yoni-shaped pendants, and a
choker (tumpio) Which may have been borrowed from
female relative
Plate 2.32
Baligurha; Orissa Mliah-Kondh girl wearing an heirloom
xii
40
coronet Of British Indian silver rupee coins Depicting George
V (ruled 1910-36)
Podahari, Rajkot District, Gujarat. Necklace (kanthilo or
Plate 2.33
41
hullar) of sixteen die-stamped old silver coins with urdu
inscriptions with a large pendant in yoni shape.
Plate 2.34
Bombay, Maharashtra Gold necklace (ashrafi-ka-haar) or
43
gatla; Private Collection, Brussels
Plate 4.1
Different styles of Kasumala form TBZ
49
Plate 4.2
Different styles of Kasumala form Kalyan jewelers
50
Plate 4.3
Different styles of Kasumala and enameled jewellery by VBJ
51
Plate 4.4
Cut coin of America
51
Plate 4.5
Cut coin of other states
52
Plate 4.6
Coin jewellery from C and G
52
Plate 4.7
Coin jewellery from Erez
53
Plate 4.8
Coin jewellery from Etsy.com by finds and Fartings
53
Plate 4.9
Coin jewellery from Beyond the Rack and Charlene Sevier
54
Plate 4.10
Gold Glam collection by Tanishq
55
Plate 4.11
Nawab Jadau collection
56
Plate 4.12
TBZ Dohra collection
56
Plate 4.13
Tanishq- Jodhaa Akbar collection
57
Plate 4.14
Chedda jewels collection
59
Plate 4.15
Zoya Collection
60
Plate 4.16
Queen of heart bangle with tassels
61
Royal Bengal tiger amulet with enamel and semi-precious
61
Plate 4.17
stones
Plate 4.18
Manish Arora and Amrapali collection
62
Plate 4.19
Sunita’s Collection
63
Plate 4.20
Vivek Das at his studio
68
Plate 4.21
Vivek Das enamel works
68
Plate 4.22
Half Anna, India 1835, Copper
71
Plate 4.23
One quarter Anna, India 1886, Copper
71
Plate 4.24
1/2 Anna, India 1928, Copper
71
xiii
Plate 4.25
Two Anna, India 1946, Bronze
72
Plate 4.26
One Rupee, India 1904, Silver
72
Plate 4.27
One Rupee, India 1947, Silver nickel
72
Plate 4.28
One rupee, Silver, 1890
88
Plate 4.29
Twenty paise, bronze, 1971
88
Plate 4.30
Twenty cents, Silver, Singapore
88
Plate 6.1
Mood Board
94
Plate 6.2
Concept Board
95
Plate 6.3
Sketches of pendants and earrings
96
Plate 6.4
Sketches of pendants and necklaces
96
Plate 6.5
Sketches of pendants, brooches and earrings
97
Plate 6.6
A pendent with teardrop shaped semi-precious stones
97
Plate 6.7
A pendent with round shaped semi-precious stones
98
Plate 6.8
A brooch with pearls
98
Plate 6.9
A pendant of 1 anna coin
98
Plate 6.10
Pair of earrings with pearls and semi precious stones
99
Plate 6.11
Pendant with pearls and Semi precious stones
99
Plate 6.12
Experimentation of Technique
100
Plate 7.1
Stage 1 of making of jewellery
102
Plate 7.2
Stage 2 of making of jewellery
103
Plate 7.3
Stage 3 of making of jewellery
104
Plate 7.4
Stage 4 of making of jewellery
104
Plate 7.5
Stage 4 of making of jewellery
105
Plate 7.6
Stage 5 of making of jewellery
105
Plate 7.7
Stage 6 of making of jewellery
106
xiv
LIST OF CHARTS
Chart 3.1
Research Design
45
Chart 3.2
Research Methodology
47
Chart 4.1
Demographics: Age of females
74
Chart 4.2
Education of females
75
Chart 4.3
Marital Status of females
75
Chart 4.4
You are currently?
76
Chart 4.5
Monthly Income of females
76
Chart 4.6
Type of jewellery purchase?
77
Chart 4.7
What occasion do you wear jewellery?
77
Chart 4.8
Jewellery purchase
78
Chart 4.9
Perception of jewellery
78
Chart 4.10
What kind of jewellery do you buy the most?
79
Chart 4.11
What do you value the most in jewellery?
79
Chart 4.12
Occasion of jewellery purchase
80
Chart 4.13
Occasion of gold and silver coin purchase
80
Chart 4.14
Purpose of purchase of jewellery
81
Chart 4.15
Do you like collecting old coins?
81
Chart 4.16
What do you do with gold and silver coins?
82
Chart 4.17
Do you like converting coin into jewellery?
82
Chart 4.18
Purchase point
83
Chart 4.19
Awareness of Meenakari jewellery
83
Chart 4.20
Do you possess Meenakari jewellery
84
Chart 4.21
Purchase of Meenakari jewellery
84
Chart 4.22
Do you like Meenakari jewellery?
84
Chart 4.23
Would you like to wear meenakari coined jewellery?
85
Chart 4.24
Have you come across Meenakari coin jewellery?
85
Chart 4.25
What form of meenakari coin jewellery have you come
86
across?
Chart 4.26
What type of meenakari coined jewellery would you
purchase?
xv
86
Chart 4.27
Most preferred choice in Meenakari coined jewellery?
87
Chart 4.28
How much would you spend on Meenakari coin
87
Jewellery?
Chart 7.1
How visually appealing is the Jewellery set?
108
Chart 7.2
How visually appealing is Necklace 1?
108
Chart 7.3
How visually appealing is the Brooch?
109
Chart 7.4
How visually appealing is the Necklace 2?
109
Chart 7.5
How visually appealing is the Necklace 3?
110
Chart 7.6
How much would you rate them on a scale of 1 to 5?
110
Where 1 is highest and 5 is lowest
Chart 7.7
How much would you rate them on a scale of 1 to 5?
111
Where 1 is highest and 5 is lowest
Chart 7.8
Would you like to purchase this jewellery?
111
Chart 7.9
Do you think prices at are too high, too low, or about
112
right?
Chart 7.10
What would you prefer the most on coins?
xvi
112
LIST OF TABLES
Table 2.1
Techniques of Artistic Enameling
34
Table 3.1
Schedule
46
Table 4.1
Comparison table of Cloisonné and Champlevé technique
70
xvii
1. Chapter : Background
1
1.1. Introduction
Since the dawn of man, we have manipulated
raw
materials
for
tools
and
decoration. Beginning with adapting simple
organic materials we then advanced to
shaping stones and eventually working with
metals.
This
gemmology
would
and
make
crafting a
trades
few
like
of
the
oldest skills known to mankind.
The convention of jewellery in India was
Plate 1.1: Medallion-Disc with Hariti
introduced and has been propagated since a
Gold repousse and carnelian From Punjab;
very long time and is very old. Since ancient
Kushana period, 1st-2nd century AD, D-4.8 cm
Formerly collection Col. D. H. Gordon
times, the home-grown style of jewellery
production has set the Indian Jewellery standard apart from others. The skilled
artisans have always taken idea from the objects near them and moulded small
things such as flowers, seeds, berries, fruits, leaves, animal claws, teeth & bones
etc. into a beautiful ornament. People have used everything possible around and
have transmuted them into some or the other artistic creation in order to
beautify themselves. Some people wear this type of jewellery even today.
The convention of beautifying herself has been the utmost charm of any female
on this earth. There is no exception to this fact in respect of Indian women too. In
India, jewellery has been a tradition since 5000 years. Jewellery has become
inseparable to the women in India. The Indian Jewellery is known for its
elegance, intricate expertise and for its variety. It has been a persistent
inspiration for many and has won many hearts in India. However, it is not
restricted to women only. History is evident that adorning with jewellery has
been a hobby of men too. Apart from being an ordinary accessory, the divinity &
artistic essence is also there.
Since ancient man began to understand the wonders around him he believed that
they held magical elements and sacred mystical properties. Stones and metals
2
were believed to have these qualities too, some were thought to heal where some
could cause bad luck, good luck or even influence our daily lives and interaction
with the universe. Ancient Alchemists around the world thought that minerals
could enrich the spirit in many forms. Today still, many modern beliefs retain
these traditions and reverences of magic and healing. Even scientists and
doctors are beginning to respect and explore the possibilities and nature of many
phenomena related to the healing properties of stones and metals.
Ancient tribal beliefs and myths held many minerals with some form of awe and
godly supernatural essence. Just as tribal ornamentation serves as a spiritual
journey or a symbol of status or to make a statement modern fashion follows this
same ancient trend. Jewellery can signify many aspects of modern society and
individuals such as religion, wealth, beliefs and even marriage.
Although the most popular use for precious metals and stones is considered to
be jewellery. It is quite surprising to learn the many uses of precious metals and
precious
stones.
The
most renowned
would be for the low grade diamonds
which are called industrial diamonds.
Indians have been using jewellery for
adornment
since
centuries.
The
significance of jewellery in the country is
evident from the fact that on many
auspicious occasions, jewellery forms a
part of gifts.
India and jewellery, jewellery and Indian
women - the terms are linked inherently.
At the time of wedding as well as
numerous other occasions, a woman is
gifted jewellery by her parents and
relatives. Although the gift is meant to give
3
Plate 1.2: NISKA
(Necklace of coins-Front & Reverse)
North India: 19th century
Private collection
As statement of wealth, necklaces of coins
Trace their antiquity to the Mahabharata. While gold
Coins are set into one side of this necklace, the reverse
comprises kundan set units of rubies and
Emeralds encircled with pearls
her security in contingency, ornamentation is an obvious purpose.
Many Indians make it a point to own gold and silver, if for no other reason than
to use it in weddings. Indian brides traditionally have a dowry of gold. This is
usually in the form of high cartage gold made into jewellery, often incorporating
gold and silver coins. During weddings and on special occasions there is tradition
of gifting gold and silver as lucky gifts.
And also over the centuries, many ancient, rare and ultimately valuable gold,
silver coins have been melted and made into jewellery. There are many
interesting rare Indian gold and silver coins which are in danger of being melted
down.
Collecting such coins which are currently unpopular or unfashionable and
converting them into something different might be a good idea, especially if a
person is not averse to a bit of speculation and /or has an interest in
numismatics.
4
1.2. Problem Statement
 Over the centuries, many ancient, rare and ultimately valuable gold, silver
coins have been melted and made into jewellery. It is no surprise that India
has produced many different denominations of gold coins, which include
Dinars. Staters, Kahavanus, Pagodas, Tankas, Ashrafis, Mohurs, Gadyanas,
Bhairava Gadyanas, Varahas, Fanams, Koris, Xerafims, and Tolas.
 Perhaps because of a mistrust of banks, the government or the tax system,
many Indians store their wealth in the form of gold bars or gold coins.
 These coins are treasured; some of the antiques collection of coins is kept
treasured.
 Indian brides traditionally have a dowry of gold. This is usually in the form
of 22 carat or 24 carat gold formed into jewellery, often incorporating gold
coins or silver coins. Wedding guests also give gold and silver coins as lucky
wedding gifts.
 Even during festivals like diwali and akshaya tritiya, gold and silver coins
are gifted or purchased and are kept in safe and are used in emergencies by
melting them down or by either selling them.
 This does not increase their longevity and usability and merely by just
keeping them, these coins get crude, unpolished, etc.
1.3. Research Objective
 The study aims at increasing the longevity and usability of old rare coins by
beautifully crafting enamel on them, thus preserving them and increasing
their aesthetic value.
 Increasing the beauty and historical significance of coins by converting
them as jewellery which would be a way of appreciating the value of coins.
 To create invention in the field of coin jewellery by introducing enameling
fashioned with semi-precious stones.
 Designing a range thereby converting them into beautiful ornamented
piece of jewellery.
5
1.3.1. Sub Objectives
 The aim is to study various techniques of enameling and finding the best
suitable technique of enameling/ meenakari on coins.
 To study the physical characteristics of coins, availability of old coins.
 To explore the feasibility of technique by exploring enameling on all shapes
and sizes of coins on the basis of experimentation.
1.4. Significance of the research
 The significance of the study is to use coins as jewellery, thereby increasing
the demand for coins in today’s generation.
 Creating awareness among consumers and meenakari artisans about the
possibility of enamelling over coin surface.
6
2. Chapter : Review of Literature
7
2.1. History of jewellery in India
2.1.1. Jewellery of the Indus Valley
Jewellery making in the Indus Valley
dates
back
to
the
Neolithic-age
Mehrgarh culture (7000—5500 BC),
and Late Harappan (aka "Cemetery
H") age, which predates the iron-age
development of metal-casting and
metal working. The Indus Valley
region, which encompasses Persia
Plate 2.1: Dancing girl of Mohenjo-Daro c. 2500
BC
and the Indian sub-continent, was
the
home
to
the Indus-
Sarasvati civilizations
(Aryan,
Harappa and Vedic peoples)
which
were the largest (both population
and geography) of the major ancient
civilizations
from
Egypt,
Mesopotamia, South Asia and China.
The Sarasvati was a river praised in
Plate 2.2: Harappan map showing the river
Sarasvati
the Rig-Veda (a collection of Vedic
Sanskrit hymns), running the length of the Indus Valley, from Punjab to the
Arabian Sea.
Early Indus Valley jewelry consisted of strands of simple beads that were
carved from soft stone, or fashioned from shells. The Harappans were expert
craftsmen,
making
beads
from
agate, amethyst, carnelian, lapis
lazuli and turquoise. Some stones were heated to produce a reddish colour
which was prized by the early Indus civilization [1].
During the Late Harappan period craftsmen began to work with bronze,
copper silver, and gold, fashioning simple necklaces, head-bands, bangles and
8
other ornamentation from
cast
metalwork,
faience
(a
glazed
non-clay
ceramic), terracotta, shells,
and carved ivory. Copper
was mined locally by the
Harappans, in Baluchistan
and
Examples
Rajasthan [2].
of
this
early
jewellery can be seen on the
Plate 2.3: Gold and agate (a coloured mineral stone) were
used to make these pieces of jewellery
cast-bronze statuette of the 'Dancing girl of Mohenjo-Daro' (Mohenjo-Daro,
Pakistan), believed to have been made in 2,500 BC (above, left). By 1,500 BC the
population of the Indus Valley was creating moulds for metal and terracotta
ornaments. Gold jewellery from these civilizations also consisted of bracelets,
necklaces, bangles, ear ornaments, rings, head ornaments, brooches, girdles etc.
Here, the bead trade was in a full swing and they were made using simple
techniques. Although women wore jewellery the most, some men in the Indus
Valley wore beads. Small beads were often crafted to be placed in men and
women`s hair. The beads were so small they usually measured in at only 1
millimetre long. Both men and women wore ornaments. While necklaces,
fillets, armlets and finger-rings were common to both sexes, females wore
jewellery in the Indus Valley predominantly, since they wore numerous clay or
shell bracelets on their wrists. They were often shaped like doughnuts and
painted black. Over time, clay bangles were discarded for more durable ones.
Women wore girdles, earrings and anklets. Ornaments were made of gold,
silver, copper, ivory, precious and semi-precious stones, bones and shells etc.
Other pieces that women frequently wore were thin bands of gold that would
be worn on the forehead, earrings, primitive brooches, chokers and gold rings.
Even the necklaces were soon adorned with gems and green stone. [3]
The Harappans were also accomplished sailors and navigators, helping them to
expand the boundaries of trade Bahrain and Sumer For navigation, the
Harappans carved compasses from conch shell, which they used to measure the
9
angle between stars. Jewellery was also made in the form of anthropomorphic
symbols such as animals, trees, and sexual organs, due primarily to their pagan,
and matriarchal spiritual beliefs. Jewellery was worn predominantly by the
female, and was not buried with the deceased, but passed on to their heirs.
Another popular Harappan spiritual motif was the Shiva Pashupati, or Yogic
"Lord of Beasts."
2.1.2. The Kushana Empire and the Silk Road
No empire in world history had more influence on global trade than the Kushans
(c.60 AD—375 AD), who were a (Mahayana) Buddhist mercantile culture that
was singularly responsible for the creating the overland Silk Road, thereby
dramatically expanding trade between China, India and the Western World. The
Kushans were also partially responsible for exporting Buddhism to China. During
its zenith in the first century AD, the Kushana Empire extended from the Khyber
Pass and the Indus Valley (Afghanistan, Pakistan) to the Ganges river valley in
northern India, and was the first truly "multi-cultural" empire.
Plate 2.4: Gold Kushana coins (photo: public
domain)
Plate 2.6: A necklace of coins delicately
strung with very small ancient lapis
lazuli beads (approximately 24 beads to
an inch). Size: Each coin is approx. 2 cm
(13/16") in diameter. Length of necklace =
approx. 48 cm. (19 inches)
Plate 2.5: The Silk Road
10
Although the Kushans ruled
most of northern India, they
were not Hindu, and not
indigenous
to
the
Indo-
Gangetic Plains. The Kushans
did practice Hinduism, along
with Zoroastrianism, Buddhism
and the religion of the ancient
Greeks. The Kushana Empire
began in Bactria and Gandhara,
Plate 2.7: Pendant with Kushan and Roman coin
designs
Kushan period, early 4th century CE
Gold Probably from the Gandhara region (modern north-western
Pakistan) Diameter: 3.5 cm Weight: 19.98 g
in present-day Afghanistan, Pakistan, Tajikistan and Uzbekistan. By the second
century AD, Rome under Hadrian ruled the lands to the west, and the Han
Dynasty ruled the lands to the east, but the centre of trade was under the
dominion of the Kushans, and the capital city under the Maharaja Kanishka I, was
Peshawar, in northwester Pakistan. Marking the trade route was the great stupa
of Kanishka, which was said to be one of the most imposing structures in the
ancient world.[1]
A necklace delicately strung with very small ancient lapis lazuli beads
(approximately 24 beads to an inch). There are 12 gold coins with images of 6
ancient kings - six on each side. There are 2 kings that we recognize - one is
Vasudeva I, the other is "Ohsho" holding an elephant goad, thunderbolts, a
trident and a goat. The centre bead is a oblong fluted gold bead. There are also
two blue glass beads flanking the central gold bead.
Period: Kushana (2nd Century AD) Note: We sent images to the British Museum
and were informed that these are believed to be Kushana coins but that they had
not seen coins before that were un-struck on the reverse that had tubing for
stringing for ornamental purposes. Under our close examination, it looks to be
ancient.[5]
As experts at the British Museum have noted, though this pendant appears to be
made out of a single coin, it is in fact a construction that borrows elements from
11
two separate coins, one Kushana and one Roman.1 On one side is a portrait of
the Roman emperor Constantine the Great (reigned 307-37 CE), and includes a
crude copy of the inscription giving the name and titles of the emperor in Latin.
On the other side is an image of the Kushana goddess of good fortune,
Ardochsho; holding a cornucopia in her arms, her image is based upon that of the
Greek goddess Demeter. The inscription identifying this deity is written in the
Bactrian language using the Greek script, though here again the inscription is
rather blundered. This design is known from the coins minted by the Kushana
ruler Kanishka I (reigned approximately 120-46 CE). Such an amalgamation of
Mediterranean and Central Asian motifs and languages in a single piece of
jewelry creates a perfect visual metaphor for the phenomenon of transferred
cultural patterns that we see occurring all along the Silk Road.[15]
2.2 History of Meenakari in India
2.2.1
History of Meenakari
Indian Jewellery is known the world over for
its diversity of range and craftsmanship. Of
all the different forms of jewellery that are
crafted in India, enamelling is perhaps one of
the most outstanding styles in brilliance and
expertise. However, as there is no accurate,
verifiable history of enamelling in India or in
the surrounding regions, the exact date of its
origin in the subcontinents becomes difficult
to pinpoint. When did this fascinating craft
Plate 2.8: Akbar the Great - the
most enlightened ruler in the
history of the Mughal Empire
start in India; this question is worth debating because it is generally accepted
that the technique of enamelling is not an indigenous Indian craft but had its
origins abroad.
12
In his book, Industrial Art of India, Sir George Birdwood observes: ‘It is
probably a Turanian art. It was introduced into China, according to Chinese by
Yueh-chih, and was carried as early as, if not, earlier into India, from Assyria it
probably passed into Egypt, and through the Phoenicians to Europe. Sidon
was famed for its glass, as was the Tyre renowned for its purple; and the
Sidonians were not only acquainted with glass blowing but also with the art of
enamelling in glass in imitation of the precious stones.’[6]
Sir George Birdwood also comments on the quality and the brilliance of Indian
enamellings: ‘It is the mingled brilliance of its greens, blues and reds which
laid on pure gold and make the superlative excellence and beauty of Jaipur
enamelling. Even Paris cannot paint gold with the ruby, coral red, emerald
green and turquoise and sapphire blues of the enamels of Jaipur, Lahore,
Benares and Lucknow.’ He goes on to say:’.... the art is practised in India, at
Lucknow, Benares, Multan and Lahore, Kangra and Cashmere but nowhere in
such perfection as at Jaipur. There is no mentioning of enamelling in early
Indian texts before the fifteenth century. The only available reference found
on this subject is in the Ain-i-Akbari written in the sixteenth century by Abu’l
Fazl, during the reign of the Mughal emperor Akbar. According to Fazl, ‘....the
meenakari on enameller works on cups, flagons,
rings and other articles with gold and silver. He
polishes his delicate enamels of various colours,
sets them in suitable place and puts them to fire.
This is done several times over.’
Manuel Keen, author of the treasury of the
world, notes that, ‘Despite the lack of a preexisting tradition of enamelling in India, the art
had already become established in the Imperial
Plate 2.9: Enamelled hilt and scabbard
mounts, from Jaipur, 1850 (Victoria and
Albert museum, London
workshop during the Akbar’s reign’ This
suggests
13
that
not
only
was
enamelling
practised during the reign
of Akbar but that it was a
well established art all
over the Mughal empire
as
the
technique
of
enamelling is believed to
have
spread to
other
parts of the country from
the
imperial
Mughal
karkhanas.[5]
The jewellery produced
in the imperial karkhanas
Plate 2.10: Necklace
20th
century AD; Delhi A necklace studded with stones and
pearls the enamelled is reverse in also shown
combined
Mughal
finesse
with a love for the sumptuous meenakari, or enamelling, a unique
combination of gems, enamel pigments and precious metals. This became a
quintessential symbol of the Mughal version of ‘paradise on earth’. Confirming
to Islamic precepts, this paradise was a celestial garden with all manner of
trees, a riot of flowers and colours of every imaginable hue. The motif
consisted primarily of flowers, plants, scrolling vines and animal forms.
Though an established craft, enamelling had not come into its own in the early
Mughal period. It was
Shah Jahan’s aesthetic
version
that
transformed
enamelling
into
sophisticated art form,
which embellished a
range of items from
precious jewellery to
imperial
thrones.
Borrowing ideas from
his two major passions,
Plate 2.11: Pendent (Front and Reverse)
North India; 19th century, H; 13 cm W: 11 cm, Christies Images;
the large pendent, Richly enamelled and set with Diamonds,
might have been used as a head ornament (tikka) for an
elephant, on any Ceremonial occasions
14
architecture and fine gems, Shah Jahan took motifs from one and colours from
the other, to inspire an art form, which henceforth was completely identified
with Mughal aesthetics.(Dance of the peacock: Jewellery Traditions of India.)
Different styles and fashions travelled with their owners along with craftsmen
from their regions as people relocated either for monetary reasons or because
of marriage alliances. The Mughal court saw the advantages of strengthening
and expanding the boundaries of the Mughal Empire through alliances of
marriage with Hindu princesses and with granting of high positions to Hindu
nobility.[7]
‘During the eighteenth century, the artistic productions of most of the Empire
had their foundations entirely in Mughal aesthetics. Some areas, such as
Rajasthan, were able to resist being completely overwhelmed, though it is
difficult to isolate specifically Rajput forms or motifs on unprovenanced
jewellery. This is because Rajasthan undoubtedly contributed a great deal to
the formation of the hybrid Mughal style: its princess married to Mughal
royalty and its rulers had taken high positions at Court, both bringing their
jewellery and, probably their craftsmen with them.’ (Stronge, Smith and
Harle)
Early characteristics of enamelling containing Greco-Roman influences were
also known in India. This can be observed from the various beads found in
excavated Buddhist sites at Taxila in Pakistan. There are two types of beads:
white enamel on a black cornelian background, and a black enamelled pattern
on a greyish white agate base. The enamelled designs are mainly pentagonal
and hexagonal circles with dots in the centre or fine rows of little spots or two
or three strips of the trinity. This type of enamelling has an almost distant
relationship with Indian enamelling of the Mughal period.[3]
Certain experts have traced the origin of enamelling to the thirteenth century
on the basis of a similar technique of manufacturing ornamental glazed tiles,
which incidentally were also an important feature of Sultanate architecture. It
is thus possible that the roots of Indian enamelling go back to that era.
15
Meanwhile in Europe, the art of enamelling had become a highly developed
skill. Thus it was natural for Indian craftsmen to learn the art that, in due
course, they outshone their teachers. The many varieties of enamel of Mughal
period were based directly on the highly developed schools of enamelling in
the West. The diverse unbroken lines of the different ranges of enamel can be
used as a window to trace the evolution of the technique of enamelling
through the centuries. Numerous existing specimens of Mughal jewellery
point to this, with the forms being Indian and the design and colour schemes
being purely European. In one miniature painting of Murshidabad now in the
collection of Victoria & Albert Museum, London, Nawab Aliverdi Khan is
shown holding the turban jewel of his grandson Siraj-ud-Daula. The jewel is
almost identical to the one given to Admiral Watson in 1757 by Mir Ja’Far, the
Nawab who outset Siraj-ud-Daula with the help of the British. This shows that
provincial rulers took over stock imperial imagery in the way they were
depicted in the paintings. With each successive political change and wars
waged by foreign invaders in India, many of the famed pieces of jewellery and
enamels found their way to different countries; some were taken as far away
as to Tsarist Russia and England. In 1739 AD, an Iranian ruler, Nadir Shah,
sacked and looted Delhi. Much of what was taken by him became a part of
crown jewels of Iran. Other pieces-jewels and gold vessels studded with
precious stones, or enamelled-were gifted to Russia by Nadir Shah in 1741
and are now in the Hermitage. (The Gold Treasury) Since Royalty had an all
consuming interest and its related arts, they employed many jewellers and
associated craftsmen in royal ateliers. There are also accounts of artists’
delegations and other contacts between the Mughal court and the Portuguese
enclave of Goa during the reign of Akbar, in the seventies of the sixteenth
century. [10]
Although the arts and crafts in India were always treasured, they reached
their zenith during the rule of Emperor Shah Jahan who was not just a prolific
builder but who also had a keen eye for gems and jewellery. The Shah Nama (a
record of the life and times of Emperor Shah Jahan) makes repeated reference
to enamelled objects. These objects were highly prized, and were clearly
16
intended for the privileged few. Particularly pleased by a display of valour by
his son, Aurangzeb, imperial largesse to the young prince on his fifteenth
birthday according to the Shah Nama included two Qibchaq horses, one with a
jewelled saddle, and other with an enamelled one. Swords and shields with
enamelled appurtenances were also singular mark of honour. The imperial
annals also record the emperor’s first ascension on an enamelled throne
constructed in the course of nine months for the sum of five lakh rupees. One
single instance confirms the excellence of and demand for the art of
enamelling in Shah Jahan’s time. This is the royal librarian’s record of a golden
screen. The magnificent object with enamelled inscriptions and cupolas was
specially crafted to place around the tomb of Mumtaz Mahal, Shah Jahan’s
beloved queen, on her second death
anniversary.
[11]
(Dance
of
the
peacock: Jewellery traditions of India)
There is also one group of art historians
which holds that the Mughal Emperor
Humayun brought with him enamellers
from Iran after his exile there in the
sixteenth century. While this appears
incorrect as Iran had no tradition of
enamelling until the eighteenth century,
nevertheless
there
are
important
substantiations in the accounts of
seasoned and observant travellers like
Jean-Baptiste Tavernier and Sir John
Chardin.
These
observations
seem
authentic, as they were made by
Plate 2.12: Dasti (Bracelet- Front and reverse)
experienced travellers with a keen
eye. Such ‘experts’ were acquainted
with higher echelons of society; they were also knowledgeable professionals
in the field of jewellery trade. It is also quite probable that the art of
enamelling was patronized at certain centres in the Deccan (in the south of
17
India) even before the Mughals. From the sixteenth century onwards the art of
enamelling spread from Mughal ateliers to other parts of the country.
‘Technically, jewellery of the South differs greatly from that of the Mughalinfluenced areas of India. The precious metal acts both as support and
decoration, enamel is not usually found and gemstones tend to be used for
their symbolic value rather than primarily for their decorative effect.’ (A
Golden Treasury)
2.2.2
Types of Enamelling
Although the exquisite craft of creating jewellery flourished in all parts of the
Indian subcontinent during the medieval period, the most beautiful pieces
were produced during the Mughal era. The style during that period was to
decorate the frontal side of the ornaments on an enamelled background with
precious gems while the reverse was adorned with enamelled patterns. It is
interesting to note that frequently the exquisitely enamelled backs of the
pieces outshone the beauty of the gem studded frontals of the ornaments.
The Mughal rulers of India had such a fondness for art and jewellery that they
commissioned artists and jewellers from all over the empire and from abroad
to make some of the most exquisite items for their personal adornment. The
jewellers of the Mughal court married the sophisticated designs and
techniques of the Persians with Indian motifs to produce some of the finest
pieces of enamelled jewellery ever produced.
The effortlessly blending of Muslim and Hindu decorative art in the realm of
jewellery made these pieces stylistically unique. At the same time, while the
merging of the two cultures produced a stunning and grand display that left
the viewers of these magnificent pieces bedazzled, it is also a perfect
reflection of the rich composite culture of the subcontinent under the
Mughals. [12]
Sadly, very few pieces of old gold and silver jewellery have survived since old
jewellery was often melted down and the metal reused to make new
18
ornaments to keep up with changing tastes and fashions. Luckily, enamelled
pieces were largely preserved in their original form, because their beauty and
value was dependent on the enamel work, which would be lost if they were
melted down. Certain regional variations, particularly in the schools of
enamelling have developed and can be seen by comparing the jewellery
shown in the painting of that period with the Gentil album of 1774 (Stronge,
Smith and Harle)
Enamels may be dived into five groups according to the treatment of the
enamelled objects:
a) Enamelling done only on a single side or only on the frontal side of the
object is known as Agari ko mina (enamel on the front) or ek posta (single
sided) in Rajasthan. Sometimes the enamelling is done only around the
stone setting; this is generally in a green or blue colour and in few cases the
colour red is used.
b) Enamel done on the back of an object is known as pichari ko mina (enamel
on the back) or pharfura mina (enamelling done on the reverse of a round
object). The frontal side of the ornament in this kind of item is often gem
studded.
c) Enamel done on both sides of a hollow jewellery piece, where one side has
one or more openings (grooves) for gem setting is known as do posta (two
sided). The frontal side of this kind is normally slightly convex, with square
sides and a flat back.
d) Enamelling done on the straight sides of three dimensional, hollow objects
is known as pahulpur ko mina (three dimensional enamelling)
e) Three dimensional enamelling is known as sub jagah ko mina (enamelling
all over). This type of enamelling is generally seen on round objects such as
decorative forms of birds, chess pieces and the like.
19
The background colours for enamels
on the front of a gem studded piece
are usually selected to contrast with
the colours of the gems. Diamonds or
colourless stones are usually set on a
nili, sabz or lal zamin (blue, green or
red background), while emeralds are
set on blue fields, but very rarely on a
Plate 2.13: Enamelled box from Jaipur,
(National museum, New Delhi)
red or white field.
The colours and the combinations used on the back of the objects are design
based. Generally, birds are illustrated in white, blue, green or turquoise,
flowers in combination colours of red and yellow, pink and blue while the
foliage is in green. Geometric patterns are usually depicted in any of the many
colour combinations. Jaipur, Delhi, Benares, Deccan, Lucknow, Rampur,
Kashmir, Kutch, Multan, Bahawalpur, Sindh, Himachal Pradesh, Punjab and
Delhi were the regions where the best forms of enamelling are produced.[3]
2.2.2.1
Jaipur
The most reputed of all the centres of
enamelling in India is Jaipur. The enamellers of
Jaipur have reaches 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 nineteenth century. Jaipur
was the enamelling centre ‘par excellence’ in
the eighteenth and nineteenth centuries, the
craftsmen traditionally being though to have
come from Lahore. (The Golden treasury)
20
Plate 2.14: Raja Man Singh I
of Amber
Rustam J. Mehta says in Handicrafts and industrial art on India: ‘Jaipur is most
famous for its beautiful enamelled jewellery. Here at Jaipur, the colours
employed rival the tints of the rainbow in purity and brilliance, and they are
laid on gold with such exquisite taste that there is never a want of harmony.’
No wonder it is said that craftsmen of Jaipur ‘could enamel rainbow tints on
gold’.[7]
Enamelling was initiated in Jaipur
during the reign of Sawai Man Singh I, a
great connoisseur of art. Man Singh is
also reputed to have enjoyed cordial
relations with the Mughal emperor
Akbar, another great patron of the arts.
The enamelled golden crutch staff of the
Maharaja remains one of the finest
examples of enamel work and is
unsurpassed in its brilliance usage of
colours. It was under Man Singh’s royal
Plate 2.15: Gold Necklace
19th century AD, Rajasthan A hansuli shaped like
two peacocks, with pearl Droplets. The enamelled
reverse in shown in the Outer circle
patronage that the five best enamellers
were brought from Lahore to a workshop
set up by the Maharaja, in Amber. The
names of the four them-Zorawar Jawahir,
Sookha and Bharion, all belonging to the Sikh faith-are recorded in the royal
archives of Jaipur. The tradition of their exquisite craft was passed down from
generations to generations within the families of these craftsmen. Sardar
Kudrat Singh was from one of the enamellers families who had the distinction
of being decorated with the Padma Shri (a national award bestowed on
Master craftsmen by the government of India for outstanding work in craft
tradition). The Jaipur craftsmen were specialists in white enamel work. The
most popular motifs rendered on a white background are flowers, creepers
and flowering plants. The white colour of Jaipur enamelware is sparkling in its
clarity and with the combination of red poppy flowers with green leaves on
the safed zamin (white surface), the resulting piece is amazing.[4]
21
Wilbraham Egerton notes that while Chinese enamel is
very rarely pure white, the ground o Jaipur work is
usually a dazzling white. Most of the pieces of the
Mughal periods were decorated with red poppy
flowers
and
green
foliage
on
a
white
background, probably adopted from the
contemporary Deccani enamellers. Rubyred enamel on the surface of the pieces
was
another
special
feature
of
enamellers. They excelled in this to
Plate 2.16: Kada (bangles)
North India; 18th century, Terminating in traditional
makara-head Finials, the bangles are a design board of
motifs and a colour palette of enamels. Little dots of
Opaque with enamel framing the cabochon Rubies are
unusual.
such a extent that later on, Jaipur
and
red
enamel
Jaipur
became
synonymous. In fact red flowers
with yellow or white highlights are a hallmark of Jaipur enamel. Intricate
designs with yellow, green, white and gold colours were produced on a
radiant red background. Red enamelling on the front of ornaments studded
with diamonds are, however, a rare collector’s item.
Red and green flowers on a plain white background derive from the white
marble architecture of the first half of the seventeenth century, inlaid with
flowers of jade and carnelian. These are copied on some of the finest
goldsmiths work to have been produced under Mughal patronage. These
colours were by no means exclusive to Jaipur, and can be found on several
eighteenth and nineteenth century pieces from jewellery centres as far as
apart as Murshidabad and the Deccan. (The Golden treasury)
Partajikam, or monochrome enamel, is another feature of Jaipur enamel. The
pattern is chased on the gold surface and deep green coloured enamel is
applied on it leaving behind fine gold lines. The design thus looks like
unicoloured enamelled background. Animal figures, such as elephants, deer,
lions as well as birds, in bold floral motifs within a cartouche of round, oval,
22
triangle, square, and other shapes on a white background were greatly
favoured by the artisans of this region. There are examples of a pair of pigeons
or doves being executed within hexagonal or octagonal frames, the space
around the figures was filled in with small flowers and green foliage on a
white background. Blur surfaces were decorated with red flowers, green
leaves on a white background while the sky blue ground has foliage designs in
red and green. Beautiful figurative subjects are also a feature of Jaipur
enamels. Opaque ground colours around the figures are used in contrast with
the transparent enamel colours used for the motifs. In an example of this lord
Krishna is shown narrating the Bhagvad Gita to Arjuna on the Battlefield of
Kurukshetra (the site of battle in the epic Mahabharata) in the centre of the
ornament. This central motif is surrounded by the ten avatars (dashavatars)
of Vishnu, including Rama and Sita worshipped by Hanuman and Lord
Jagannatha with his wife Subadra and brother Balabhadra. Another example
illustrates Rama and Sita Seated on chowki (low Seat), Flanked by Lakshmana
(Rama’s younger brother) and Hanuman. One necklace depicts the figures of
the nine planetary deties (nava-gharas) on their celestial mounts i
polychrome enamel on a red field. A crude figure of Lord Shiva in blue is
depicted seated on a yellow lion skin. His trident (Trishul) is white and two
types of flowers with leaves and buds are executed on the red field within the
white border of the pendent. He figures of Radha and Krishna under a tree are
depicted in Red, Yellow and Green colours. However, the nine gems (navratnas) were generally set on a green enamelled background. But in rare
examples these are studded on a red ground (lal zamin).[9]
Another feature of the enamel of Jaipur is the depiction of the same motif on
the obverse and reverse sides. In some pendants, a spray of rubies and
diamonds studded to depict flowers in shown on the front and the same motif
is rendered on the back in white enamel on a red background. Another
example has a symbol OM made of topaz on a red base on the obverse and the
reverse is also decorated with the same design in white and red colours.
23
The pieces are made during the Mughal period were enamelled with lotus and
poppy flowers and green foliage. The flowers are made mostly of light pink
while various shades of green from light to dark were used to illustrate the
leaves and creepers. Does, pigeons, swans, parrots, kingfishers and bulbuls
were some bird forms of these periods. In early Mughal pieces and till the
mid-eighteenth century there is no depiction of the peacock in enamels from
the Jaipur. It appears to have become a favourite subject of enamellers later.
Jaipur enamelling is done on brass and copper objects as well. Red, blue, white
and mauve are used to decorate the metal surfaces. Enamelling on arms was
also favoured and members of Allah Baksh family continue the tradition hilts
of swords with enamel. It is worth noting that the ancestors of Allah Baksh
were brought to Jaipur to train the Jaipur royalty in the art of warfare.
Apart from Jaipur, Bikaner, Jodhpur, Udaipur and Nathdwara are other
centres for enamelling in Rajasthan. The enamellers who migrated from Jaipur
to these areas carried the art with them.[9]
a. Jaipur Enamels
The Jaipur enamels stand supreme among the work turned out in India. They
were, and still occasionally, of matchless perfection. In the journal of Indian
Art, Vol.1, 1886 it has been recorded :’Perhaps the earliest known example of
Jaipur enamel work is the crutch staff on which Maharaja Man Singh may have
leaned as he stood before the throne of Emperor Akbar at the end of sixteenth
Plate 2.17: Left to right: an enamelled armlet which depicts Radha and Krishna in a grove, 19 th
century from Jaipur (National Museum, New Delhi)
24
century.’ It is described as ‘fifty two inches in length and, composed of thirty
three cylinders of gold arranged on a central core of strong copper, the whole
being surmounted by a crutch of light-green jade set with gems. Each of the
thirty two upper cylinders is painted in enamel figures of animal, landscapes
and flowers. The figures are boldly and carefully drawn by one who had
evidently studied in the school of Nature; the colours are wonderfully pure
and brilliant, and the work executed with more skill and evenness than
anything we see at present day.’
A round plate from Jaipur
presented to King Edward
VII when he visited India
as the prince of Wales,
which took almost four
years to craft is said to be
the
article
largest
enamelled
ever
produced.
Another superb example
of the Jaipur enamellers’
art was a writing case in
the shape of an Indian
gondola like boat also
presented to the Prince of
Wales. The stern of the
Plate 2.18: Sarpeech from the Late Mughal period
Front in gold and silver studded with diamonds and reverse
enamelled in red and green with floral patterns (National
museum, New Delhi)
small vessel is shaped like a peacock with its tail sweeping under half the
length of the boat, studded with brilliant blue and green enamels, ‘brighter
even than the natural iridescence in blue, green, ruby and coral red enamels-is
laid on the purest of gold.[12]
An elephant goad (ankus) of the Maharaja of Jaipur was displayed at the
Vienna Exhibition in 1883. Wilbraham Egerton says: ‘The art of enamelling in
other parts of India has not attained that perfection reached at Jaipur, but
occasionally beautiful specimens may be found, as shown by the sheath of the
25
Ghorkha Kukri, enamelled with flowers in brilliant colours on a blue
background exhibited in the Windsor Collection.’ The enamel of Jaipur is
executed on pure gold in which the champlevé technique in which the metal
sheet is engraved. The enamel is then applied on it, so that when it is fused,
the lines created by carving disappear, and the entire surface becomes a sheet
of translucent enamel. In Jaipur the furnace is sunk into the ground about a
foot. Over this is placed a thin layer of clay traversed by fine tubes for the air
draught, and under this a small earthen vessel holding the glass to be used for
the making of the enamel colours. The colouring matter is added to the glass
when fired and once cool it is ready to use.[4]
The main feature of Jaipur enamels are the translucent blue and green colours
on the front of the ornaments, in which are set precious gems such as
diamonds, emeralds and rubies in floral and foliage pattern in the kundan
technique ( a technique for setting gems in jewellery) the reverse side of the
ornament is richly enamelled in polychrome enamels.
b. 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 hold them in place. Kundan jewellery is very popular all over India
but more so in the state of its origin-Rajasthan, where the main centre for
kundan work are Jaipur and Bikaner. The jewellery inserts a gold foil
between the gemstone and the metal base to give it a brilliant shine and
Plate 2.19: Necklace (Front and Reverse)
North India; early 19th Century, Private collection
Set with table and rose cut diamonds, the necklace is fringed with a border of Graded Basra pearls. The
reverse is densely enamelled with Stylized flowers in red, light blue, green And yellow.
26
lustre. Thus, in Kundan work, the gem receives natural light only from the
above as the entire lower half is buried in the metal.
Kundan jewellery has many unique points that are worth noting. Kundan is
not only crafted in twenty four carat gold, but since the stones do not have a
claw or opening setting the craftsman can use gemstones that may not be all
of a regular size or uniformity. Compared to open setting, this saves the
craftsman time and labour as there are already groves and a gold band/case
in placed around the gem. However the stones retain their original look and
distinctiveness. Again, the setting of stones in kundan does not require the
gold to be heated as it is soft and pliable enough to set the gems by merely
pressing into the metal. [12]
Nevertheless, the enamelling that goes into the making of kundan jewellery
is a long and tedious process. First the design is made on the metal base.
Next the engraver engraves the design with a sharp tool. Then the master
enameller takes over the ornament and fills in the colour within the metal
compartments. The whole item is then placed in the furnace for firing. When
the finished item is ready it has the beauty and lustre of the finest quality.
c. Adornment for Men and Women
Jewellery in India has traditionally been both
an investment and a statement of status and
prosperity. In India, the fine aesthetics sense
of the rulers and their love of ornaments in
responsible for the fact that men and women
of all the classes enjoy wearing dazzling
jewellery. However, ‘male’ jewellery differs
from ‘female’ ornaments. For instance men
wear necklaces, but these are heavier than
the daintily-crafted necklaces worn by the
women. Men also wear earrings although
27
Plate 2.20: The Last Mughal emperor by
William Dalrymple decked with
ornaments.
they are not as elaborate as the ones worn
by the women. Jewelled waist sashed and
finger rings are also popular. A tiger’s claw
pendant, considered a lucky charm, and is
often worn to ward off the evil eye. However,
the adornment of the turban is a royal
prerogative and the turbans of the ruling
elite are heavily encrusted with jewellery
and fastened with a gem-studded aigrette.
The Sarpech or the turban crest worn in the
front of the turban has strings of pearls or
bands of gold that extend from the front to Plate 2.21: Mughal queen decked with
the back of the turban. The ruling elite also
ornaments from head to toe
held their weapons in great esteem and even scabbards, sheaths of daggers,
hilts of swords and daggers were studded with gems or enamelled and then
set with gems. The common man, however contended himself with silver
jewellery with coloured glass in the place of gems. Feminine jewellery is
worn as a complete ensemble rather than randomly mixed and matched
pieces. Royal ladies wore a lot of head ornaments each with a special name.
Lotus shaped gold chains were wore across the length of their braided hair
and flower shaped hair pins and combs that were magnificent enamelled and
set with precious gems were also used. However, even village women in
Rajasthan wear more than one necklace, earrings, finger rings, nose rings or
studs, bangles of various styles, arm bands, anklets, toe rings, ornaments for
the forehead, a round pendent (borala or bodla) that rests on the forehead
held in place by a long chain of gold and silver or a string of pearls, hair
ornaments, hair pins and many more smaller ornaments. Thus, when the
ladies complete their toilette they are bedecked from head to foot in fine
jewellery. Puzzled by the sheer number of ornaments worn by Rajasthani
women, one can be forgiven for wondering how they carry a load so happily.
28
d. Nav-Ratna
The garuda Purana ascribes the origin of the slaying of the demon, Vala
whose served limbs are transformed into precious gem seeds; his blood
transmuted into rubies; his
teeth became pearls, and so
on.
Each
gem
characteristics
possesses
powers
enchanting
or
individual
traits.
of
controlling
Emeralds
Plate 2.22: Necklace
Mughal period, 18th century
AD, The enamelled reverse
of a ‘Navaratna’ (nine
gems) National Museum,
New Delhi
have
influences
positive
on
intellect and wit, diamonds were associated with inner and outer
refinement, and blue sapphire had to be used with caution as the influence
of Saturn could often prove destructive. It was only when gemstones were
combined in a unique manner with particular reference to the individuals
that their beneficent effects were felt.
The setting of Nav-Ratna is determined by rules known to astrologer and
jewellers. Patterns established according to the cardinal points were
adopted, with individual variations determined by horoscopes. The ancient
Hindus attributed various qualities to precious stones. There are certain
stones which could not be worn by themselves but only in conjunction with
others. The Mughals also came under the influence of Hindu superstition
and had faith in astrology; they even consulted astrologers, before taking
any important step. The hold was so great that even the fanatic Aurangzeb
could not get rid of hid belief in them. Therefore Nav-Ratnas are set in
29
armlets, rings and amulets, purposely for their talismanic effect. Nav-Ratna
jewellery became very popular with Mughals and Nav-Ratna necklaces and
bracelets of huge uncut became typical of Muslim jewellery.
2.2.3 Materials
Both Silver and Gold can be used as a base for Meenakari. There are a limited number
of colours, including gold, blue, green and yellow that stick to silver. All available
colours can be applied to gold, making it the preferred medium of enamellers. Gems,
stones, gold and silver foil are also used.
2.2.4 Tools

Salai (etching tool)

mortar and pestle

kiln

metal palette

Kalam/Taqva (tool used to apply enamel)

Forceps

Small scrubbing brush

Takala (needle like tool used for applying colours)

Agate stone for smoothing/sanding

Brass dye
2.2.5 Process
1. The designs are made on the mould by ’chitras’; they are engraved by
‘gharias’ or ‘kalamkars’ and the colouring process is done by ‘minakars’. If
gold is used in the process the work is passed to the ‘sonars’ or goldsmiths.
2. Polishing is the final step that is done by ‘chiknawalas’.
30
3. If kundan art is also combined
with Meenakari, then
the
piece is taken to the group of
artisans
known
as
‘kundanaaz’, they adorn the
piece with gems.
4. Pieces of enamel (mina) are
cleaned
in
a
dilute
Stage 1: Rang rakhne ka patra
acid
solution. The amount needed
is knocked off. The solid mass
with a iron pestle (mugdar)
and placed in a motar(karchi).
The small pieces are ground
until the enamel attains a
Stage 2: Mixing of colours
small particle size
5. In the late 18th-19th century
enamels came mainly from
foreign sources. Today these
stocks, carefully hoarded, are
declining.
An
important
enamel manufacturer in India.
Stage
3: Application
of colours
Plate
2.24: Furnace
Plate 2.23:
Process
of enamelling
Is ticks Company, Amritsar,
the first modern day Indian enamel manufacturer, established in 1935.
6. The enamel is washed four times with water to remove impurities. This is
very important in order to achieve maximum transparency and colour
brilliance with transparent enamels. The ground enamel is free of
impurities when, after stirring the enamel, the water is poured off is no
longer cloudy.
7. Enamel is places in a colour palette (rang rakhne ka patra) and just enough
water added to form a paste. With a pointed spatula applicator (takua), the
enamel is applied, champlevé style, to the engraved depressions on the
object. After use Enamels are stored in shallow, inter fitting porcelain cups.
31
8. The dried object (here a bangle) is placed
on an iron trivet, whose points hold it
suspended in air, and introduced to
preheated kiln (bhatti) with Tonga
(chimta). After heating the object to
redness (one to five minutes or more,
depending on the object sixe), the enamel
fuses. The Red hot object is quickly
removed from the kiln and allowed to
cool.
Plate 2.24: Furnace
9. Exposed metal is cleaned with dilute citric acid, and the surface is ground
level with a corundum stick (sohan).
10. A second application and firing of enamel usually follows; it is always
necessary in order to develop it fully to clarity and brightness
11. All exposed gold is brightened with a burnisher (badia).
12. The finished interior (when hollow) is filled with surma lac, a compound
of lac mixed with anitmony to prevent gold from denting.
13. Finally a gemstone setter (murassakar) sets the gemstones Kundan style.
2.2.6 Motifs
The motifs that are done in meenakari art are Traditional themes and floral
designs, lions, elephant crocodiles, birds like peacocks and parrots as most of
the Indian traditional art follows the nature themes and community social
event happening in and around.
This patterns and motifs are usually done on the reverse side of the any
jewellery.
32
Elephant Design
Parrot design
Floral Design
Krishna Life story
Lion and Crocodile Design
Plate 2.25: Motifs
2.2.7 Ancient Techniques
There are various techniques involved in this art form
like glass enamelling, metal Meenakari, kundan,
single colour and five colour enamel work, etc. For
instance,

Single colour enamelling is done only a particular
single fills is used to fill the engraved designs
Ek khula meena
leaving the gold or silver outline exposed. This
technique is also called “ek khula meena”.

Five colour techniques is an enamelling where
various colours like white, light blue, dark blue,
transparent red and transparent green are used.
It’s called as “panchrangi meena” meaning multi
colored enamelling.
Panchrangi meena
Ancient Techniques
33
2.2.8 Innovations
Artisans are experimenting with more modern and simplified designs that
often demand lower prices. The desi, or Indian meena, melts at an extremely
high temperature achieved only with a furnace and is exceptionally delicate
and hence fired only twice, whereas the vilayati meena, or enamel sourced
from Europe, has a much lower melting point that can be achieved with a
heater and has greater flexibility in terms of the number of firings it can take.
The vilayati meena is substantially cheaper than the desi version, thus
allowing meena worked jewellery to be worn by a wider section of society.
2.2.9 Challenges
The cost of precious metals and stones impose a high price on Meenakari
work, making it a luxury item. Consumers usually buy fewer luxury items and
consider their purchase for a longer period of time before committing to the
item. Traditional Meenakari designs demand the highest prices and, today, are
usually bought for brides and worn by relatives at weddings. Many new
designs don’t use the metal engraving technique at all, and create works using
only the enamel process, a process that is the same as western practices.
2.2.10.
Techniques of Artistic Enamelling
Technique
Description
Image
Basse-taille
Basse-taille, from the French word
meaning "low-cut". The surface of the
metal is decorated with a low relief
design which can be seen through
translucent and transparent enamels
34
Champlevé
Champlevé, French for "raised field",
where the surface is carved out to
form pits in which enamel is fired,
leaving the original metal exposed
Cloisonné
Cloisonné, French for "cell", where
thin wires are applied to form raised
barriers, which contain different
areas of (subsequently applied)
enamel.
Grisaille
Grisaille, French term meaning "in
grey", where a dark, often blue or
black background is applied, then a
opalescent (translucent) enamel is
painted on top, building up designs in
a monochrome gradient, paler as the
thickness of the layer of light colour
increases.
Limoges
Limoges enamel, made at Limoges,
France, a famous center of vitreous
enamel production. Limoges became
famous for champlevé enamels from
the 12th century onwards, producing
on a large scale, and then from the
15th century retained its lead by
switching to painted enamel on flat
metal plaques. Original metal exposed
Plique-à-jour, French for "open to
daylight" where the enamel is applied
in cells, similar to cloisonné, but with
no backing, so light can shine through
the transparent or translucent
enamel
Plique-àjour
Table 2.1: Techniques of Artistic Enamelling
35
Ronde
bosse
Ronde bosse, French for "in the
round", also known as "encrusted
enamel". A 3D type of enamelling
where a sculptural form or wire
framework is completely or partly
enamelled
Stencilling
Stencilling, where a stencil is placed
over the work and the powdered
enamel is sifted over the top. The
stencil is removed before firing, the
enamel staying in a pattern, slightly
raised.
Sgrafitto
Sgrafitto, where an unfired layer of
enamel is applied over a previously
fired layer of enamel of a contrasting
colour, and then partly removed with
a tool to create the design.
Serigraph
Serigraph, where a silkscreen is used
with 60-70in grade mesh.
Counter
enamelling
Counter enamelling, not strictly a
technique, but a necessary step in
many techniques, is to apply enamel
to the back of a piece as well sandwiching the metal - to create less
tension on the glass so it does not
crack [19]
36
2.3 History of Coin Jewellery
Pieces of metal, whose weight is certified by a mark
stamped upon them by the authority of a
government, we call coins (sikka, a die to stamp).
Since they were first minted in India by the shah
dynasty (180/170 B>C. – about 50 B.C.) coins were
used by people of all economic levels as elements in
jewellery. For those who could afford it, gold coins
were used, and others had to satisfy with silver.
This practise persists in India, were old silver coins
no longer current are commonly used for
Plate 2.26: Coins of Shah
Dynasties
ornaments. Each remote tribal people who trade mainly by barter and are less
involved in a money economy follow this practise. The idea came to them
from other urban and rural people, an example of a frequent pattern of
influence in which tribal people adopt outside customs they consider to be
more “progressive” than their own.
Coins might at first appear to be purely decorative
elements in Indian jewellery and on costumes;
however, as is typical of Indian culture, almost every
component in jewellery has more than a decorative
significance, and this also applies to coins. Obviously
coins are a symbol of wealth. Presumably, a person who
uses coins as a ornament possesses a surplus. Because
coins in jewellery are seen by others, they contribute to
wearer’s prestige, a calculated objective. Further, by
using government minted coins in jewellery, the
wearer is tactily admitting his or her support for that
prevailing government. Coins in jewellery thus came
to symbolize state protection, from which evoked
the idea of the mystic, amuletic power superstitious
people often attribute to coins.[2]
37
Plate 2.27: Kullu, Himachal
pradesh
Necklace (pathachong; kachong;
or kathmal) always in odd
numbers. In the middle there are
pendants that are coins (tikra: the
largest one) which is enamelled
The
British-Indian
government
precious
used
metal
coinage until 1947
and did not oppose
the use of coins in
jewellery. In fact, they
encouraged
the
practice as a form of
Plate 2.28: (left)
Plate 2.29: (right)
Two girls from Madras,
From a photograph taken
in Madras in 1891
Photographer unknown
Chetty girls from Madras.
From a photograph taken in
Madras in November 1891
Photographer unknown
government
propaganda.
The
increased decorative use of coins in the
nineteenth century manifested itself at a time
of relative political and economic stability,
when precious metal coinage was available in
sufficient quantity to permit this use, even
tough when coins are used for ornamental
purposes
they
are
circulation
and
lose
withdrawn
their
from
function
as
exchange currency.[5]
Coins ornaments are more common among
the lower economic sections of the Indian
society, who are most vulnerable to drastic
Plate 2.30: Andhra Pradesh
Lambadi women wearing a necklace
(rupaiya har) of authentic silver coins
and other ornaments. Similar coin
necklaces are used throughout India,
Each having its particular local name
fluctuations
in
economic
circumstances.
When these groups use their surplus savings
for this purpose, they are declaring their
relative
economic
well
being.
This
circumstance probably explains the wide use
of silver coins in rural Indian jewellery, especially during the time of British38
raj. In the latter part of the nineteenth century, and continuing up until the
time of Indian independence in 1947, more silver currency was in circulation
than ever before, which reflects favourably on the stability of the paternalistic
British-Indian administration.
Coins round form and size range make them eminently suited to use in
jewellery, especially in necklaces. Also, because the coins were of precious
metal, they could be manipulated as metal permits. It is only in the last
hundred years or so that the western idea was established that a coin is
disfigured if it is altered by a hole or if additions are joined to it by solder.
Though this practices decreases its numismatic or actual monetary value, such
coins are no longer currency but essential looked upon as precious metal. [12]
A hole-pierced coin is suspended by an inserted jump
ring from a cord or chain in a necklace or can be
sewn to a supporting material in a costume or
accessory. A more common suspension system used
in India is a half round wire, U-shaped silver loop
whose ends are hammered flat in parallel. Soldered
to the coin, the flattened parts are joined like a clip to
front and back. Often the loop terminal contacting
the coin is ornamented with added elements such as
shot or wire. A bezel could be added to the coin face
to hold a small hard-stone, or glass ‘stone’.
Decorative elements placed on the more important
obverse side bearing the main field image, or
inscription, enter the decorative scheme. On British-
Plate 2.31: Junagadh’
Gujarat
Man wearing a gold
necklace (jhuman) of gold
Sovereign arrowhead and
yoni-shaped pendants, and
a choker (tumpio) Which
may have been borrowed
from female relative
Indian silver coins, the image was always a British ruler William IV (18301837), Victoria (1837-1901), Edward VII (1901-1919), George V (1910-1936),
and George VI (1936-1952). In effect, coin ornaments became a form of
commemorative jewellery markings the reigns of the various British
monarchs related to Indian history. It did not matter to Indians that most
39
inscriptions on these coins were in English,
which the majority of Indians could not read.
When the original system of mounting the
coins in a necklace is still intact, which happens
more often when they are joined to a chain and
not strung on cord (cords may have been
replaced and the coins restrung by a patu’a at
which time on the recent coins may have been
added for length, it becomes possible to date
the necklace, the date of such a necklace would
be that of the most recently minted coin. [14]
Coins
used
in
jewellery
are
commonly
conceived of as amulets, partly because of
attitude towards the metals of which they are
Plate 2.32: Baligurha; Orissa
Mliah-Kondh girl wearing an
heirloom coronet
Of British Indian silver rupee
coins Depicting George V
(ruled 1910-36)
made and in some cases because of the images stamped upon them. Examples
of the latter are the coins minted by the southern Indian kingdom Vijaynagar,
on which figures of Hindu deities and/or their symbols were depicted.
Most of the coins struck in Indian principalities formerly dominated by the
Mughals or ruled by a Muslim, had no figural subject but used Arabic or
Persian inscriptions frequently these were a quotation from the Quran or
other quotations of Islamic religious importance. For Muslim people, when
such religious inscriptions appear, it adds greatly the coin value, a
circumstance responsible for the common Muslim use of such coins as
amulets.[18]
Several forms of traditional Indian jewellery employ coins. They may be the
sole element used in combination with other elements such as metal, hard
stone, or glass spacer beads and pendants; and amulet cases.[6]
Necklaces use the greatest number of coins in one object. They can be widely
spaced on a cord that is knotted to keep them in place or closely strung in
consecutive or overlapping series. Often these necklaces have a large central
40
pendant. Coin necklaces are known by
various names in different parts of the
country. In the Punjab, necklaces of rupee
coins are known as henkal or hamial; in
Rajasthan, rupaiya har, in Tamil Nadu the
tern is Kasumalai, a necklace with thirty to
forty gold coins the size of the quarterrupee joined to a gold chain. The latter
name also applies to any necklace in which
coins (kasadi) dominate. Ancient gold and
silver issued by various rulers have been
focused with attached loops. A clear
indication of these coins has been used in
Plate 2.33: Podahari, Rajkot
District, Gujarat.
Necklace (kanthilo or hullar) of sixteen
die-stamped old silver coins with urdu
inscriptions with a large pendant in yoni
shape.
ornaments such as a necklace.
Coins with loops soldered to their revert
are used as shirt buttons or studs. In some a
permanently joined safety chain is passed through the back loop of all of them.
Coins are commonly used for rings, the shank soldered to the coin back of one
or several solder joined coins. They can also be used in the bezel of a signet
ring.[8]
A particularly interesting use of coins in jewellery was that of the “pagoda”
gold coins, current in Madras and the South until 1851 when the British
ceased the minting of gold coins in India. The original unit of weight there, the
coin contained 42.048 grains of fine gold, was called pagoda by the British, a
term generally used by European to designate Hindus and Buddhist temples,
because on the pagoda’s reverse side a pyramidal temple was depicted.
Locally it was known as the bhagvati, a reference to one of the epithets of
Parvati as Durga, whose image formerly appeared on the face of the coin. [20]
Several pagoda coins were issued at different places and times. Some of them
can be mentioned here: pagodas of the Chalukya dynasty, the Gajapati
41
dynasty, the Lingayat pagoda, and those of Vijayanagar, Gandikota,
Chittldroog, Travancore, Adoni, Mysore and the East India company pagoda,
the pon equal to half a pagoda, was also in circulation. These are original coins
used in the kasumalai, a coin ornament still popular today in Tamil Nadu.
2.3.1 Later British-Indian Coinage
The coins most commonly found in traditional Indian jewellery are silver
coins of strictly controlled weight and silver content issued during the time of
British rule in India in the nineteenth century and up until the time of Indian
Independence. The coins weights and values based on their silver content
were considered to be so reliable that throughout India, Nepal, and Tibet they
received preferential acceptance. These coins were referred to as Kampani,
the reference being to the British East India Company that governed India
until the mutiny in 1857, followed thereafter by direct British administration.
The designation persists today even when post-Company British Raj silver
coins are referred to in jewellery.
The fact that its standard precious metal content (165 grains silver in a total
weight of 180 grains troy) was guaranteed made it possible, when it became
necessary, to sell gold coins used in jewellery to refiners at their face value in
terms of current precious metal values in the major daily newspapers of India.
Because silver coinage of this time was so abundant, jewellers often used it as
a source of raw material, melting it down when needed. They then normally
debased the alloy by increasing its content of copper, the alloying metal.
This reduced the actual value of the result by weight, but its bulk was
increases so that a larger number of ornaments could be made. British-Indian
silver coins, hoarded by ancestors who passed them on to heirs, still surface
these ornaments are worn as symbol of ancestral patrimony.[20]
Weight Conversions of British-Indian Silver Coins found in Jewellery
One Rupee
= 16 annas = 180 grains
42
Half Rupee
= 8 annas
= 90 grains
Quarter Rupee = 4 annas
= 45 grams
Eight Rupee
= 21.5 grains
= 2 annas
Those who cannot afford people
precious metal coins use imitation
coins in jewellery. Real or not the
meaning of coin as a symbol of
wealth still persists. Imitations are
made by casting duplicate from an
original coin, actually a form of
counterfeiting, though such coins
are not intended to enter circulation
as currency. Sheet metal can be
stamped with an image to make it
resemble a coin; the result is called
a bracteates. Often base metal is used
and plated in precious metal.
43
Plate 2.34: Bombay, Maharashtra
Gold necklace (ashrafi-ka-haar) or gatla
Total length: 14 5/8 in. (37.4cm)
Weight 102 g
Private Collection, Brussels
3. Chapter : Research Design and Methodology
44
3.1. Research Design
The research is designed in such a way that it has the ability to answer to find
answers to questions about the attitudes of artisans and consumers towards the
meenakari coined jewellery and also to find out the behaviour of materials and
technologies in the development of the product. As ‘Traditional Meenakari on
coins’ is a amalgamation of Meenakari on coins, this research in itself becomes a
new innovation and makes this research very exploratory and experimental
research. Research is conducted into the potential and the scope of jewellery as a
medium, with the goal of innovation and furthering development.
The following chart explains the research design:
Problem Identified
Secondary Research
•
•
•
•
•
Data Collected
Primary Research
• Interviews with
Artisans
• Pilot Study
• Observations
• Interviews with
Artists
Books
Online Data
Journals
News papers
Magazine
Scope
Processing of Data
Analysis of Data
Design experimentation
Design Development
Feedback
Design Suggestions
Further Development
Chart 3.1: Research Design
45
Product Development
3.1.1. Schedule
The study covered a total time frame of approximately sixteen weeks which
included both secondary and primary research, design explorations and
design development and completion and preparation of thesis.
Week
Task
2 weeks
Review of Literature (Secondary Research + Brand
analysis)
1 week
Analysis of Secondary Data
3 weeks
Primary Research (Observation, Pilot study, Interview with
Artisans,
Consumers,
Artists,
Experimentation
of
Technique and Coins)
1 week
Analysis of Primary Data
2 weeks
Design
Experimentation
(Sketching,
Prototyping,
Experimentation of Technique)
4 weeks
Design Development (Making of Prototype)
3 weeks
Documentation of Thesis
Table 3.1: Schedule
3.2. Methodology
Research in domain of jewellery needed an approach demanding delicacy and
subtlety. Information and resources are not easily available and rather
protected for the fear of competition by other jewellers. This research was
conducted by adopting proven research methodology, as suggested by
researchers (Hair et al. 2005, Kothari 2002) from time to time for different
cases. As ‘Traditional Meenakari on coins’ is a amalgamation of Meenakari on
coins, this research in itself becomes a new innovation and makes this
research very exploratory and experimental research. Research is conducted
into the potential and the scope of jewellery as a medium, with the goal of
innovation and furthering development. The experimental and exploratory
46
approach to the discipline allows for an autonomous method for the creation
of jewellery. It is also possible to place greater emphasis on the design
aspects of working with jewellery and to approach it as a product, or to work
with objects that have a personal nature similar to that of jewellery.
Research
Methodology
Exploratory Research
Experimental Research
A. Interview with Meenakari
Artisans
A. Pilot Study with Consumers
B. Experimenting Meenakari on
all available Shapes of coins
B. Interview with Prof. Vivek Das
(Enamel Artist)
C. Exploration of Enameling
Techniques
D. Exploring Coins Available in
Market.
Chart. 3.2: Research Methodology
47
4. Chapter: Research Findings
48
4.1. Secondary research
4.1.1. Coin Jewellery
People have been making coins into jewelry since the inception of coinage.
Most coins that were holed or pierced throughout history were done to be
worn around the neck or affixed to an article of clothing. There are many ways
to have necklaces, pendants, rings, brooches, tie clasps, cufflinks, buttons,
belts, and so on made out of coins today, whether ancient or modern, whether
with genuine coins or replicas made primarily to be used for jewelry.
Some people are critical of coin jewelry, feeling it degrades or even ruins
coins. The fact is that coins are damaged when used in jewelry, even if they're
not holed, through the pressure applied by the settings they're in, through
wear they receive by brushing against things as they're worn, and through oils
and salts from skin. Ex-jewelry coins are worth less than normal coins. So it's
best to use for jewelry coins that are common enough to be worth sacrificing
in this way. While on the other hand, Using coins as jewelry is another way of
appreciating coins. You adorn yourself or someone else with an item of beauty
or historical significance, and you create interest in others who notice.[22]
a. TBZ Kasumala collection
Plate 4.1: Different styles of kasumala form TBZ
49
The Traditional coin jewelry of South India; Kasumala Is usually worn by
Tamil's, Keralites, Kannadigas and people of Andhra Pradesh. The Kasu
mala is strings of round ornaments resembling coins strung together. Kasu
malai coins usually has the goddess lakshmi embossed on it. This ethnic
ornament of the people of India traces its roots before the Kings and
queens. The following is the TBZ collection of gold Kasu mala or Kasu
necklace studded with kundan and matching gold earrings from TBZ
jewellers.
b. Kalyan Jewellers- Kasumala collection
Kasumala collection of Kalyan jewellers is much modernized and
contemporary but also includes the traditional touch. The Traditional
Plate 4.2: Different styles of Kasumala form Kalyan jewellers
ornaments continue to influence even present gold designs and patterns of
Kerala Jewelleries. Kasu Mala (Kasumala) remains an evergreen influence.
Every household boasts of owning at least one of them. [20]
50
c. Vummidi Bangaru Jewellers- Kasumala collection
Vummidi Bangaru Jewellers (VBJ) was established in Chennai, India, at the
turn of the century; in 1900 to be precise. Since then the brand has
established itself as a name standing for a blend of outstanding designs,
Plate 4.3: Different styles of Kasumala and enamelled jewellery by VBJ
master craftsmanship and purity of the highest order. Over the years VBJ has
become the acronym for ‘very beautiful jewellery,’ in gold, silver, diamonds
and platinum. They have a highest collection of Kasumala and the unique
feature is that they have introduced enamelling in Kasumala. But the
enamelling is done only on the pendants and not on coins.[26]
d. Cut coin jewellery art
Cut coin jewelry art is a popular
method of turning coins into
jewelry. Most cut coin art is
achieved by drilling a small hole
(or holes) into the coin and then
Plate 4.4: Cut coin of America
51
using a jeweller saw (which has various types of blades) to cut away parts of
the coin. Many artists tend to focus on the stamped figure of a coin, cutting
away the space around them so it appears to float within the border. The
legality of such a craft, in the United States it is perfectly legal (18 U.S.C. §331)
Plate 4.5: Cut coin of other states
so long as you don’t try to represent the coin as anything other than an
altered coin. For example, you can’t change the date of a coin and try to pass
it off as an earlier version and you can’t claim it is an original if it has been
altered.[21]
e. Coin jewellery from C and
G brand
C and G is an online company
which allows the customer to
either purchase a coin from
them
or
use
one
that
customer own. It gives a wide
variety of choices in pendants,
rings, bracelets, brooches and
cufflinks. [22]
Plate 4.6: Coin jewellery from C and G
52
f. Coin jewellery from Erez Brand
Coin jewellery from Erez is very exclusive and
distinctive in its own nature. All the coins are
from Rome. The Roman Mint was established as
a temple of a Roman God named Luno Moneta the word "money" is derived from his name.
Each coin was struck by hand, therefore no two
coins are identical. On the obverse of most
Roman Coins is an engraved portrait of
an emperor that ruled at the time. Those coins
emphasized the authority of each emperor and
reminded soldiers who was in control of their
pay.[23]
Plate 4.7: Coin jewellery from Erez
g.
Coin jewellery from Etsy.com
Plate 4.8: Coin jewellery from53
Etsy.com by finds and Fartings
A beautiful range of jewellery made using genuine coins. Exquisitely handmade
and gold plated. The collection is by find and Fartings Company, which gives a
huge range of coin jewellery.[25]
h. Coin jewellery by other artists
Plate 4.9: Coin jewellery from Beyond the Rack and Charlene Sevier
4.1.2. Meenakari jewellery
Meenakari or Enamelling is the art of painting, colouring and ornamenting the
surface of metals by fusing over brilliant colours that are decorated in an
intricate design. The artisans of the Mogul era combined the sophisticated
designs & techniques of the Persian art with Indian motifs & colours to
produce some of the finest examples of enamelling anywhere in the world.
Globally this art is still practiced but many innovation and design
interventions have been done producing some of the good designs that meet
the demands of present world.
54
a. Tanishq Gold Glam collection
A collection crafted in 22 k gold aimed at consumers with a discerning taste.
An eclectic range of earrings, necklaces, brooches, waist belts, back
ornaments, arm bands and shoulder ornaments. Collection is designed
keeping in mind the demand for variations in gold jewellery. [27]
Plate 4.10: Gold Glam collection by Tanishq
The collection incorporates contemporary designs in geometric styles. Glam
Gold is an adventurous combination of delicate Cuttack wirework with
Jaipuri enamel and kundan. In simple yet contemporary and geometric
styles, the collection is a daring fusion of different looks and techniques.
b. Nayaab Jewels
Nayaab's jadau jewelry is crafted to compliment both Indian and Western
outfits, to outshine every season and occasion. Apart from classical jadau
designs, Nayaab introduced the unique feature: pieces embedded and
attached in a jadau design is detachable.
55
Mr. Bothra (Chairman of Nayaab) explains the reason behind this innovation,
"Usually heavy jewelry is preserved for special occasion, and thus tends to
gather dust in a locker till their need arises. But, at Nayaab we give our
customer the choice of detaching each piece from the original design, and
use it in lighter designs meant for more frequent use". [28]
Plate 4.11: Nayaab Jadau collection
c. TBZ-Dohra collection
Plate 4.12: TBZ Dohra collection
56
TBZ Dohra collection- Crafted to perfection, the Entire collection is very
rich, Pieces are beautifully enameled, set with Kundan and precious
stones, Gives a very traditional and eye catching look.[29]
d. Tanishq- Jodhaa Akbar collection
Plate 4.13: Tanishq- Jodhaa Akbar collection
Tanishq, the leading jewellery brand, unveiled the jewellery worn by
Aishwarya Rai, who plays the Rajput princess Jodhabai and Hrithik
Roshan, who features as Mughal emperor Jalaluddin Akbar, in the movie.
The exquisite pieces include Sarpech (feather pin), archer's ring, Arsi
(mirror ring), Bhor (head jewel like in Indian Tika) and Hansali (choker).
The wedding set, which Aishwarya wears in the film, is very heavy. It
weighs around three-and-a-half kg. It was difficult for Aishwarya to wear
them. In fact, in the interviews she said the hardest part was to wear the
jewellery. "But that was how women lived those days and it is authentic,"
57
Alpana Parida, head marketing & merchandising at Tanishq, told IANS at
the unveiling of "Jodhaa Akbar" jewellery in the capital. A blend of Mughal
and Rajasthani designs, the handcrafted jewels on display are
breathtakingly beautiful and give an insight to India's glorious past. "I
think if everything is put together then the total weight will be about 300
kg and it's a huge investment on the part of the company. We have made
13 ensembles for Aishwarya and eight for Hrithik. We have used gold and
gems like emeralds, pearls, ruby, tourmaline, jade," added Parida. ‘Jodhaa
Akbar' became a design and research challenge because it had to be the
specific Rajput and Mughal traditions of the 16th century and there was
very little available from that time.
It was a research from the combination of miniature paintings,
'Akbarnama' and old royal families. We also did a lot of research in
museums and archives, private collection of various royalties and at the
Chitrakala Parishad," Parida said. Ask her about the basic difference
between Mughal and Rajput jewellery, Parida said: "The basic difference
was that Mughal jewellery was much finer in craftsmanship and Rajput
jewellery was more rustic. At that time - Mughals used a lot more pearls
than the Rajputs did." "Akbar's favourite gem was the emerald. In
'Akbarnama' there are actually blue prints of emerald mines, which Akbar
had started and wherever you see him, he wears emeralds, which is the
symbol of power." Ornaments were created keeping in mind its relevance
to the two rich Indian traditions. It was a tedious job for the team working
on the jewellery to find details about Jodhabai's jewels. The designs are
mostly "kundan and meenakari"- inlay work common to Rajasthan. "The
interesting thing about most 'kundan' and 'meenakari' is as many as five
craftsman worked on one single piece. One made the mould, another set
the stone, one inlaid the pearls and others made the colourful 'meenakari'
work. So, each jewel takes a long time to craft. It's not factory-made. The
jewellery was handcrafted.[30]
58
e. Chedda jewels
Chedda jewels is a leading store in Mumbai which works currently on
Jadau jewellery and at 2012 Received the National Jewellery Award 2013
for the best Jadau Jewellery Non Precious Stone (Kundan)[31]
Plate 4.14: Chedda jewels collection
f. Zoya collection
Zoya is a chain of luxury diamond jewellery boutiques in India owned by the
TATA conglomerate and is the premium brand of the Tanishq jewellery
business. Zoya is both a product and a retail brand and is targeted at the
discerning, design-conscious woman who is international in her taste. The
boutiques offer mainly diamond jewellery as well as the traditional polki and
kundan jewellery. In Zoya boutiques you will find inspirations from around
the world coming together in precious creations. Ancient cultures; A
forgotten relic. A sensual dance. An exotic fabric. A sudden burst of rain. Zoya
captures the soul of these inspirations with expert craftsmanship and
immortalizes them in fine designs of gold, diamonds and precious stones
each awaiting its turn to share its own story. One of their most remarkable
collections is 'Rajasthan', a collection inspired by the city of Bikaner. Nestled
in the magical landscape of The Great Thar Desert, Bikaner has been witness
to changing dynasties, epic battles and a confluence of diverse cultures.
59
Plate 4.15: Zoya Collection
Beneath the surface of the region's enigmatic beauty that the untrained
tourist eye merely glances over, lies a myriad of influences: Arabian, Persian,
Mughal and even Western. By translating this fascinating cultural potpourri
into an elegant, traditional collection of kundan and polki jewellery, Zoya
captures the many moods of the desert kingdom of Bikaner. 'Kundan' is one
of the oldest forms of jewellery made and worn in India is made from 22
carat gold. Its defining moment was during the Mughal era and many
stunning pieces were created in this era. Kundan work is a method of gem
setting, consisting of inserting gold foil between the stones and its mount. It
is a product of well-orchestrated teamwork and involves a variety of
specialist skills. Uncut flat diamonds called 'Polki' are also used in most
products. To give a well-groomed finish, the reverse sides of the products are
beautifully decorated by a technique called 'Meenakari'. Most products in
this collection use a floral form language inspired by the beautiful landscapes
of Rajasthan. The interesting names of each product also enhance the
significance of Indian culture in each one; where 'Indradhanush' (rainbow)
depicts of the beauty of a rainbow through its array of colours, 'Utsav'
(festival) with its vibrant tones give a feeling of celebration. This confluence
60
of design and enticing names and inspiration make the Rajasthan collection
stand out from the crowd. [32]
g. Manish and Amrapali collection
When two talented houses come together, masterpieces are created. 'India
Enchanted',
the
Spring/Summer
2013
collaborative collection by
fashion
designer Manish
Arora and renowned Indian
jeweller Amrapali,
amalgamates Arora's vision
and Amrapali's finesse in
fine jewellery. Where on
one hand Arora, one of
Plate 4.16: Queen of heart bangle with tassels
the most inspiring contemporary fashion designers at work in India today, is
a synonym for innovation and unconventionality, Amrapali is famous for
encapsulating the exclusivity and magnificence of Indian jewellery. Combine
the unique mélange of colours that are
Arora's trademark
outstanding
with Amrapali's
craftsmanship
and
the
result is a unique collection that takes
traditional Indian jewellery and gives it
a high-fashion makeover.
Inspired by the decadence of Indian
royalty, the teams at Manish Arora and
Amrapali worked closely together on
the collection of necklaces, earrings,
Plate 4.17: Royal Bengal tiger amulet
with enamel and semi-precious stones
bracelets, rings and hair and hand
accessories.
61
Arora
delved
into
Amrapali's extensive archives of antique-inspired jewellery, reworking tribal
pieces using gold plate, gemstones and crystals and the traditional Indian art of
Meenakari (enamelling). By looking at the impressive traditions that exist within
Indian jewellery design and adding a contemporary twist, the intricate, visually
striking pieces give a fresh perspective on East meets west. Bold and bright, the
collection reinvigorates techniques and motifs from the past. Faceted structures
are incorporated with meticulous craftsmanship. Animals feature heavily,
echoing the strong motifs, such as hearts and lotus flowers, used heavily in
Arora's
Plate 4.18: Manish arora and Amrapali collection
1. Candy enamel bangles with royal Bengal tiger amulet
2. Gezelle Hand Harness
3. Royal Bengal earrings
4. Heart of Gold earrings
5. A model at paris with hair and ear accessory
6. Gazelle hair accessories and Bengal tiger earrings
7. Gazelle brooch
Candyand
enamel
banglesare adorned with
Ready-to-Wear collection.8.Tigers
antelopes
vivid,
hand-painted enamelling and vibrant gemstones. Traditional pieces, such as the
hand mirror and utility belt, become wearable fashion accessories.
The
collection launched at Paris Fashion Week and has become a worldwide
62
phenomenon, especially in India, home country of both brands. It has made its
mark in the elite circles and been spotted on both Bollywood celebrities and
fashionistas, and prices are reasonable, too. Thanks to the materials used - silver
and gold plating - individual pieces from the collection cost from 3,000 INR
(US$55) upwards.[33]
h. Sunita Shekawat jewels.
In a telephonic interview with Sunita Shekawat, a remarkable jeweller who
jokingly refers to herself as the "Hermès of India" because of her dedication to
perfecting and bringing new life to the refined Indian art of enamelling known as
'kundan meena'. Her jewels burst with colour and ripple with life as her delicate
enamelwork weaves its magic around rose-cut diamonds, pearls and other
precious stones. Though Sunita's designs are inspired by traditional Indian
jewellery, her designs stand out for their contemporary and eye-catching mix of
colours and outstanding workmanship. Sunita's delicate creations are the work
of a brave and determined woman. She want to offer something different that is
authentic and It would be tempting to make
something fashionable. So she have taken a fresh
approach to the traditional art of 'kundan meena', or
enamelling, on 22ct gold. She is inspired by the
colours of Rajasthan and its Mughal influences, but at
63
Plate 4.19: Sunita’s Collection
1. Chand Balas earrings with
pink and blue enamel
2. Blue and pink enamel
bangle with lotus motifs
3. The Jaipur peacock feather
motif shimmers with life
in these cufflinks
4. bangle that uses beautiful
enamelwork to bring to
life the traditional peacock
feather pattern
5. pendants in 22ct gold with
diamonds and enamel
decoration on both sides
6. Green enamel bangle of
leaf motifs with rose-cut
diamonds and pearls.
the same time she wants to offer something different in the world of jewellery.
The slow art of the designer and craftsman, enamelling is a precious skill easily
overlooked in the world of the celebrity diamond. And there is no room for
sloppy work in enamelling. Precision and delicacy are the name of the game.
Each piece takes over a month to make and might involve some 45 different
craftsmen and processes. For the time being, Sunita sells mainly to Indians who
appreciate the colours and tradition of the work. But she is hoping to sell abroad
as tourists have shown an interest in her pieces, which stand out as some of the
most refined Indian jewellery you are likely to see. Think of it as exoticism with
polish. Prices start from £2,000. [34]
4.2. Primary research
4.2.1. Exploratory Research
Exploratory research was carried out to refine the objectives and provide
lines of enquiry for next stages. Specifically the Interview with Meenakari
artisans and enamel artists phase will gather information on the different
jewellery trends that were followed in India, the best suitable technique for
meenakari on coins and the best suitable metal for enamelling. Also
information would be gathered on the present status of the Meenakari bazaar
and the how many designers are producing the Meenakari jewellery and the
innovations they made in this field.
This research also includes exploration of different enamelling techniques and
to find the best suitable technique for enamelling on coins, also exploring the
coins available in market, which would give us indications for further stages.
a. Interview with Meenakari Artisans
A pilot study of 30 Meenakari Artisans was conducted, this Focused research
was conducted in order to learn and understand the attitude of potential
Artisans towards Meenakari jewellery and subsequent qualitative research
would be carried in order to measure how widespread these attitudes are.
64
This research should give a useful indication about the status of the Meenakari
in the marketplace. This helped to know about the consumer trends and their
demands, the popular design series among the youth, the market pattern for
enamelling, Present demand for enamelling, innovation which has been done
in enamelling, the popular design trends they follow, also the regional buying
patterns and also their complaints.
i. Purpose:
The purpose of this research was carried out to refine the objectives and
provide lines of enquiry for next stages. This research was an attempt to
find out the answers of the following:

Best Metal suitable for enamelling.

No of Techniques in enamelling.

Possibility of enamelling on Old Indian coins and Religious coins.

Possibility of enamelling on all shapes and sizes.

Best suitable technique for Meenakari on Coins

Possibility of Meenakari with Semi-precious stones

Acceptance of Meenakari coined Jewellery by consumers.
ii. Procedure:

This research was carried out internally in Mumbai, and it was made
possible to connect to the Artisans who were working under these kinds
of projects.

Brief information was given on the requirements of the research so as to
get information on the main question that rose during the research.

This helped to know about the consumer trends and their demands, the
popular design series among the youth, the market pattern for
enamelling, Present demand for enamelling, innovation which has been
done in enamelling, the popular design trends they follow, also the
regional buying patterns and also their complaints.
65
iii. Findings

Form the detailed interview with thirty meenakari artisans; it was found
that Gold is an ideal metal for enamelling. It shows no appreciable
solubility for hydrogen, oxygen, or nitrogen. Because of its medium high
melting point, medium coefficient of expansion, and low modulus of
elasticity it is easy to formulate enamels which are compatible and still
possess the excellent properties the artist desires. It does not form oxides
which affect transparent enamels, allowing them to be more brilliant and
clear than over any other metal.

According to the artisans enameling is possible on pure silver and gold
coins, but in the case of Old Indian coins, the characteristics of coin metal
has to be carefully studied before doing enameling-because these coins
may have contents of Nickel and Zinc which when fused with enamel
colors in the furnace mixes with the color and produces bad results, the
color becomes dull and blackish which are not favorable.

According to the artisans, the space empty space available on the coins is
very less and requires great skill to color them without disturbing the
motifs of the coins and if attention is paid to every minute details of the
coin Enameling would be possible on all shapes and sizes.

According to Artisans, there are 7-8 techniques in enameling which are
Cloisonné, Champlevé, Painted enamel, Grisaille, Basse-taille, Ronde
Bosse, Sgrafitto, Stenciling, Plique-a-jour out of which Champlevé and
cloisonné are extensively followed by the artisans because jewellery is
very delicate and highly decorative and only these two technique is
followed because meenakari is not preferred by consumers to much
extent hence cloisonné and champlevé which takes only less space and
looks beautiful is practiced on a larger scale.

Out of 30, 24 artisans answered that Champlevé is the best technique
suitable for enameling on coins and is also possible with semi-precious
66
stones. But the rest answered that it would not be possible and but said
that only stones setting can be done.

Every Artisan said that they are unaware of the acceptance of these kind
of jewellery by consumers as it purely depends upon the taste and
consumer choice.
b. Interview with Prof. Vivek Das (Enamel Artist)
i.
Purpose
The purpose of this interview was to find the answers and to refine the
objectives and provide lines of enquiry for next stages. This research
was an attempt to find out the answers of the following:
ii.

Best Metal suitable for enameling.

No of Techniques in enameling.

Possibility of enameling on Old Indian coins and Religious coins.

Possibility of enameling on all shapes and sizes.

Best suitable technique for Meenakari on Coins

Possibility of Meenakari with Semi-precious stones

Acceptance of Meenakari coined Jewellery by consumers.
Procedure
This was an interview that happened at Mumbai at Mr.Vivek Das studio at
Virar. He is working as a enamel srtist in his studio since last 20-25 years.
Vivek Das has provided a lot of help on this topic which has helped in
getting answers to the questions that were arose during the research. He
treid helping in finding out the best enamel technique for this project.
67
iii.
Findings:
Mr. Vivek Das is a
metal-smith
enamellist,
&
jeweller
and basically artist
and from the past 28
years
have
been
practising this craft.
Basically he is from
Howrah,
west
Bengal
Plate 4.20: Vivek Das at his studio
(east of India) but settled in Mumbai for more than 50 years. He adds that
“I like to work with metals and Enamelling is the method to add colours &
brilliancy, Here the canvas is metal and paints, glass enamels, and it is
permanent. It can stays for centuries. Enamelling is such an expressive
medium which can be used on miniature form that is intricate jewelleries,
in crafts, 3-D objects like sculpture and of course very impressive medium
for fine art painting.”

When asked about the project Traditional Meenakari on coins he
answered that Enameling is possible on Old-coins just the metal
characteristics has to be studied deeply for good and favorable results and
also it is possible on all shapes.

According to him, Champlevé, painted enamels, Grisaille, photo enamel
Plate 4.21: Vivek Das enamel works
68
and stenciling are the technique that can be carried out, but in order to
pertain coins value, it is necessary that the originality of the coin should
not be disturbed.

Further he mentions that, in order to create more innovative work,
customized coins can be developed and enameling can be done on them.
c.
Exploration of Enameling Techniques
From the findings of the pilot study with Meenakari artisans and interview
with Prof. Vivek Das it was found that two techniques of enameling that are
Cloisonné and Champlevé were best suitable techniques for meenakari on
coins. The two techniques were thoroughly studied and compared so as to
find the best suitable technique for enameling on coins. The following table
shows comparison of the two techniques:
Cloisonné
Champlevé
Cloisonné is a technique were
cloisons are created with help of
wire, after creating this, this areas
are filled with colours.
Champlevé is a technique were the
metal is engraved and small pits are
formed, this are later filled with
enamel colours.
When doing enamel on coins, a very
less space is available on the surface
and hence it is very difficult to create
motifs with wires and additional to it
there is no much space available on
the background of the coins.
Old Indians coin that has a mirror
like background to the surface of the
coin and the design that is frosted
looking, these designs are raised
from the field of the coin, creating a
certain amount of depth which can
69
As a result this technique is not
feasible for enameling on coins.
be used for enamelling.
While the religious coins have more
depth and can produce perfect and
beautiful results.
These depths in coins are perfect for the technique champlevé, but these
spaces cannot be utilized for cloisonné technique; if additional depth is
required the background can be engraved without disturbing the original
motifs and characters of the coin.
Hence from the comparison it can be seen that Champlevé is the best
suitable technique for meenakari on coins.
Table 4.1: Comparison table of Cloisonné and Champlevé technique
70
d.
Exploring Coins Available in Market.
While exploring the coins it was made possible to select the coins which has
the physical characteristics that are compatible to enamel technique and
enamel colours

The base metal should be compatible with enamel.

The designs and motifs are more precise and clear for favourable results.
Plate 4.22: Half Anna, India 1835, Copper
Plate 4.23: One quarter Anna, India 1886, Copper
Plate 4.24: 1/2 Anna, India 1928, Copper
71
Plate 4.25: Two Anna, India 1946, Bronze
Plate 4.26: One Rupee, India 1904, Silver
Plate 4.27: One Rupee, India 1947, Silver nickel
The above coins which belong to India and late British raj were selected
because they were found best compatible for jewellery, stone setting and
enamelling. These coins had some traces of nickel and zinc which could be
taken care of while doing enamelling. The best part was that the motifs of
these coins were precise, clear and intact and hence these were chosen for
making jewellery. The coins were highly decorative in designs and hence
once enamelling was done the aesthetic appearance of the coins can be
increased a lot.
72
4.2.2. Experimental Research
The experimentation research was conducted so as to understand the
attitude of potential consumers towards Traditional Meenakari coined
jewellery and subsequent quantitative research would be carried in order
to measure how widespread these attitudes are. It took time, efforts and
confidence building measures to win consumer trust and to understand
their acceptance of Meenakari coined jewellery. Also the technique
Champlevé was experimented on the different coins.
a. Pilot study of consumers
A pilot study of 30 Female respondents was conducted, this Focused
research was conducted in order to learn and understand the attitude of
potential consumers towards Meenakari jewellery and subsequent
quantitative research would be carried in order to measure how widespread
these attitudes are.
i.
Purpose
The research was carried out to refine the objectives and provide lines of
enquiry for Design experimentation. This research was an attempt to
find out the answers of the following:

Whether the respondents would like to buy Meenakari coined
jewellery?

What all the trends they follow any why?

What would be the maximum price they pay for it?

Their perception of jewellery

Whether they would like the idea of meenakari on religious and old
coins?

If yes, then in what form of jewellery?

And would they like to convert religious coins to meenakari coin
jewellery?
73
ii.
Procedure
This research was carried out internally in Mumbai, and it was made possible
to connect to the females through convenient sampling method. Brief
information was given on the requirements of the research and a samples of
coins with meenakari was shown so as to get information on the main
question that raised during the research. This would help us to know about
the consumer trends and their demands, the popular design series among the
youth, the market pattern for enamelling, Present demand for enamelling,
innovation which has been done in enamelling and also the regional buying
patterns and also their complaints.
iii.
Findings:
2
Age
9
7
20-30
30-40
40-50
50-60
12
Chart 4.1: Demographics: Age of females
Among 30 female respondents, 12 female respondents were belonging from
the age group of 30-40, 9 female respondents belonged to the age group of
20-30, 7 female respondents belonged to the age group of 40-50 and only 2
respondents belonged to age group of 50-60. And hence from the findings,
the major respondents belonged to the age group of 30-40 and hence the
further design development would be dependent on this age group.
74
2
Education
0
5
Doctorate Degree
11
Masters Degree
Bachelors Degree
HSC
SSC
12
None
Chart 4.2: Education of females
Out of 30 female respondents 12 females possessed a Bachelors Degree, 11
females had Masters Degree, 5 females had HSC certificate, and 2 had SSC
certificate.
1 0
Marital Status
7
Single
Married
Separated
Divorced
Widowed
22
Chart 4.3: Marital Status of females
Out of 30 female respondents 22 were married, 7 were Single and 1 was
separated.
75
1
You are Currently
7
Homemaker
Student
Retired
2
1
Employed
Unemployed
19
Chart 4.4: You are currently?
When asked about their current employment status out of 30 female
respondents 19 were employed, 7 were homemaker, 2 were student, 1 was
Unemployed and 1 was retired.
3
Current Monthly Income
2
Under 10,000
6
10,000-25,000
25,000-50,000
50,000-75,000
19
Chart 4.5: Monthly Income of females
Out of 30 female respondents 19 females had a monthly income of 10,00025,000, 6 had a monthly income of 25,000-50,000, 3 females had a monthly
income of 50,000-75,000 and only 2 had a monthly income less than 10,000
76
What type of Jewellery do you purchase?
3
2 1
Fashion Jewellery
16
0
7
Gold Jewellery with diamonds & gemstones
Coin Jewellery
Gold with Meenakari
Plain Gold Jewellery
Pearl Gold Jewellery
Platinum Jewellery
9
21
4
Silver Jewellery
0
Silver with Meenakari
Others
Chart 4.6: Type of jewellery purchase?
When asked about what type of jewellery females purchased, out of 30 female 21
respondents answered that they purchased Plain gold jewellery, 16 answered
Fashion jewellery, 9 answered gold jewellery with diamonds and gemstones, 7
answered pearl gold jewellery, 4 answered gold with meenakari, 2 answered
platinum jewellery, 2 answered silver jewellery and only 1 answered silver with
meenakari.
When (on what occasions) do you wear
0 4
jewellery?
Daily
8
On weddings
22
On festival
Special occasions
8
Others
Chart 4.7: What occasion do you wear jewellery?
When 30 females were asked about the occasion of wearing jewellery 22
answered that they wore jewellery on special occasions, 8 answered that they On
festivals other 8 answered on weddings, and 4 answered daily.
77
How frequently do you purchase jewellery
(on an average) ?
1
0
0
8
Once a month
Once every six month
Once a year
Only on special occasions
Others
21
Chart 4.8: Jewellery purchase
Out of 30 female respondents 21 female respondents answered that they
purchased jewellery on special occasions, 8 answered once a year and 1 answered
other.
What is your perception for jewellery?
1
4
0
As Adornment
As Investment
Both as Adornment and Investment
Others
25
Chart 4.9: Perception of Jewellery
When 30 female respondents were asked about their perception of jewellery 25
answered both as adornment and investment, 4 answered as investment and
only 1 answered as adornment.
78
What kind of jewellery do you buy the most?
5 0
Rings
Earrings
Chains
Necklace
Pendants
Bangles
Bracelets
Gold set
Mangal sutra
Others
17
19
15
3
7
9
6
9
Chart 4.10: What kind of jewellery do you buy the most?
When 30 females were asked about what kind of jewellery they buy the most 19
answered that they buy gold set, 15 answered earrings, 17 answered rings, 9
answered necklace, 9 answered chains, 7 answered bangles, 6 answered
pendants, 5 answered mangal sutra and only 3 answered others.
When buying jewellery what do you value
1
the most?
12
Craftsmanship
Cost
Uniqueness
26
Purity
8
Chart (3.2.2.iii) 10: Kind of jewellery you buy the most?
Others
14
Chart 4.11: What do you value the most in jewellery?
When 30 female respondents were asked about what they value the most while
buying jewellery 26 answered Purity, 14 answered uniqueness, 12 answered
craftsmanship, 8 answered cost and only 1 answered others.
79
Occasions of jewellery purchase?
4
4
0
0
Weddings
Festivals
Bonus / Sudden Financial gain
Baby birth
Birthdays
Anniversary
House Warming
New year
No specific reason
Others
15
7
5
2
23
Chart 4.12: Occasions of jewellery purchase?
Out of 30 female respondents 23 answered that the occasion for jewellery
purchase was festivals, 15 answered Weddings, 7 answered birthdays, 5
answered baby birth, 4 answered anniversary, 4 answered no specific reason,
and only 2 answered bonus or sudden financial gain.
0
3
1
Occasions of purchasing Gold and Silver
Coins?
5
Weddings
Festivals
4
Bonus / Sudden Financial gain
Baby birth
2
Birthdays
2
Anniversary
House Warming
2
19
New year
No specific reason
Others
Chart 4.13: Occasions of gold and silver coin purchase
Out of 30 female respondents 19 answered that the occasion of the purchase of
gold and silver coins were festivals, 5 answered weddings, 4 answered
anniversary, 3 answered no specific reason, 2 answered birthdays, 2 answered
baby birth, 2 answered bonus and only 1 answered others.
80
0
4
What is the purpose of purchase of your
jewellery?
12
For household
Marriage
Gift
19
liquid asset
8
Traditional values
Investment
Status symbol
4
Religious Significance
3
For Kids
10
Others
Chart 4.14: Purpose of purchase of jewellery
When asked about the purpose of purchase of jewellery, out of 30 female 19
respondents answered they used jewellery as Investment, 12 answered for
household purpose, 10 answered liquid asset, 8 answered for marriage, 4
answered for gift, 4 answered religious significance and only 3 answered for
traditional values.
Do you like collecting Old coins?
Yes
14
No
16
Chart 4.15: Do you like collecting old coins
Out of 30 female respondents 16 answered that they like collecting old coins and
14 answered that they didn’t like collecting old coins.
81
What do you do with these coins (gold, silver or old
Make a collection
coins) ?
10 1
5
Household
For marriage
Gift
liquid asset
For Traditional values
For investment
Status symbol
For Religious significance
For kids
Others
10
2
0
1
13
5
Chart 4.16: What do you do with gold and silver coins?
Out of 30 females, 13 answered that they used coins for traditional values, 10
answered for making a collection, 5 answered to keep as liquid asset, 5 answered
for investment, 2 answered for household purpose, 1 answered for status
symbol, 1 answered for gifting purpose and 1 answered for other purposes.
6
Would you like to convert these coins into
beautiful ornamented jewellery piece (e.g.
Coin jewellery)
Yes
No
24
Chart 4.17: Do you like converting coin into jewellery?
Out of 30 females, 24 females answered that they would like to convert coins into
beautiful ornamented jewellery and 6 answered that wouldn’t like to convert it
into jewellery.
82
What is your purchase point?
20
Branded outlets
8
Unbranded outlets
19
Franchisee brand showrooms
Exhibition
Online purchases
12
Others
Chart 4.18: Purchase point
When asked about the purchase point out of 30 female respondents 19 answered
that they purchased jewellery from branded outlets, 12 answered unbranded
outlets, 8 answered franchisee brand outlets and 2 answered form exhibition.
Are you aware of Meenakari jewellery?
4
Yes
Pie-Chart (4.2.2.iii) 18: Purchase point
No
26
Chart 4.19: Awareness of Meenakari jewellery
When asked about awareness of meenakari jewellery 26 answered that they
were aware of meenakari jewellery and 4 answered that they were not aware of
meenakari jewellery.
83
Do you possess any Meenakari jewellery?
15
Yes
15
No
Chart 4.20: Do you possess Meenakari jewellery?
Out of 30 female respondents 15 answered that they possess meenakari
jewellery and 15 answered that they didn’t possess meenakari jewellery.
Have you ever purchased any Meenakari
jewellery?
12
Yes
18
No
Chart 4.21: Purchase of Meenakari jewellery
Out of 30 female respondents 18 answered that they would purchase meenakari
jewellery and 12 answered that they won’t purchase meenakari jewellery.
Do you like Meenakari on jewellery?
1
4
Yes, very much
To some extent
No
25
Chart 4.22: Do you like Meenakari jewellery?
Out of 30 female respondents 25 answered that they like meenakari to some
extent only and 4 answered that they like meenakari very much and 1 answered
no.
84
Will you like to wear contemporary
jewellery by crafting Meenakari on Coins?
7
Yes
No
23
Chart 4.23: Would you like to wear meenakari coined jewellery?
When asked about will they would like to wear meenakari coined jewellery 23
female answered that they would like to wear contemporary meenakari coin
jewellery and 7 answered that they won’t like to wear this jewellery.
Have you ever come across any Meenakari
coin jewellery?
5
Yes
No
25
4.24: Have you come across Meenakari coin jewellery?
When asked about have you ever come across any Meenakari coin jewellery 25
answered yes and 5 answered No.
85
If yes, then in what form?
0
Rings
Earrings
Necklace
Pendants
Bangles
Bracelets
Cufflinks
Others
1
0
4
Chart 4.25: What form of meenakari coin jewellery have you come across?
When asked about in what form of jewellery have you come across in Meenakari
coin jewellery out of 30 female respondents only 4 answered Necklace and 1
answered other.
Which type of Meenakari coined jewellery
would you purchase?
2
6
Traditional Jewellery
10
Casual Daily wear
Fashion Jewellery
18
Others
Chart 4.26: What type of meenakari coined jewellery would you purchase?
When asked about in what form of jewellery have you come across in Meenakari
coin jewellery out of 30 female respondents 18 answered Casual daily wear
jewellery and 10 answered Fashion jewellery, 6 answered Traditional jewellery
and only 2 answered others.
86
What would be your most preferred choice
in Meenakari coined jewellery?
0
7
Coins with Meenakari only
7
Coins with Semi-precious
stones only
Coins with both Meenakari
and semi-precious stones
Others
17
Chart 4.27: Most preferred choice in Meenakari coined jewellery?
When asked about Most preferred choice in Meenakari coined jewellery out of
30 female respondents 17 answered Coins with semi precious stones only while
7 answered coins with meenakari only and 7 answered coins with both
meenakari and semi precious stones.
How much would you spend on Meenakari
coined jewellery?
0
6
7
2500-5000
5000-10,000
10,000-25,000
25,000 and above
17
Chart 4.28: How much would you spend on Meenakari coin jewellery?
When asked how much would you spend on Meenakari coin jewellery out of 30
female respondents 17 answered Rs. 5000-Rs. 10,000 and 7 answered Rs. 2500Rs. 5000 and 6 answered Rs. 10,000-Rs. 25,000.
87
b. Experimenting Meenakari on all available Shapes of coins
i.
Experiment 1
The
Champlevé
technique
was
experimented on the one rupee coin
of
India,
the
experiment
was
successful and the colours came out
fresh and attractive. But because the
coin has intricate motifs enamel
colour
couldn’t
be
applied
everywhere, only some part of the
coin was applies with enamel colour.
ii.
Plate 4.28: One rupee, Silver, 1890
Experiment 2
The champlevé technique was
experimented on the 20 paise
bronze coin of India of 1971, as
the coin has contents of zinc and
nickel, the enamel colour got
mixed with the zinc and nickel
contents of the coins and resulted
Plate 4.29: Twenty paise, bronze, 1971
into a dull enamel colour.
iii.
Experiment 3
The
champlevé
technique
was
followed on the tiniest coin of
Singapor-20 cents, silver, it was very
difficult to retain the motifs of the
coin. And the motifs could not be
clearly identified in the small coins. As
Plate 4.30: Twenty cents, Silver,
Singapore
a result the final result was not so favourable.
88
5. Chapter: Analysis of Data
89
5.1.

Analysis of Secondary data
Analysis of the Review of Literature shows that the designs and delicate
craftsmanship of the ancient jewellery has greatly influenced the designs
used in modern jewellery. The designs of the past show the delicacy of
ornaments, But when compared with the new patterns and design the old
designs are very heavy and very traditional in taste.

The designs of the past have really influenced the new patterns which can be
compared by looking into the designs of Sunita Shekawat, but in her designs
she has tried to introduce contemporary designs in her collections.

Tanishq has introduced the old designs and patterns and tried to replicate
the designs from the old scriptures and paintings of Jodhaa and Akbar.

Meenakari collection from Zoya is very fresh in designs and has altogether
tried to give a vibrant and new look to the traditional meenakari.

Meenakari has changed a lot and now by looking at the collections of gold
glam from Tanishq and TBZ it can be seen that meenakari is given a very
modern and contemporarized look altogether.

But when looking at the collection of Manish Arora and Amrapali, Meenakari
has been given a very fresh and vibrant look and very new designs and new
colour schemes have given it a very voguish look.

Coin jewellery in India is mostly used in the form of Kasumala, coin jewellery
worn by other tribes and no design invention has been done in this section.

But in abroad, Coin jewellery is in fashion and is considered very chic;
Invention in coin jewellery can be seen as Cut Coin jewellery Art, which focus
on the stamped figure of coin.

In C&G and in etsy.com various designs in coin jewellery can be seen, these
designs are new fresh and very customised in nature.

Thus from the entire review and secondary data, it was found that innovation
in coin jewellery is seen only in the form of cut coin jewellery, enamelling on
coins is seen no where hence it increases the scope of the entire research.
Enamelling can be introduced in the surface of the coin and thus can be
converted into beautiful ornamented piece of jewellery. The secondary
90
research also increases the scope of the research and hence more further
research on this topic can be done.
5.2 Analysis of Primary Data

Form the detailed interview with meenakari artisans and enamel artist it
was analyzed that Gold is an ideal metal for enamelling. It shows no
appreciable solubility for hydrogen, oxygen, or nitrogen. Because of its
medium high melting point, medium coefficient of expansion, and low
modulus of elasticity it is easy to formulate enamels which are compatible
and still possess the excellent properties the artist desires. It does not form
oxides which affect transparent enamels, allowing them to be more brilliant
and clear than over any other metal.

According to the artisans enameling is possible on pure silver and gold coins,
but in the case of Old Indian coins, the characteristics of coin metal has to be
carefully studied before doing enameling-because these coins may have
contents of Nickel and Zinc which produces bad results in enameling. It was
analyzed that Enameling is possible on all shapes and sizes.

According to Artisans, there are 7-8 techniques in enameling which are
Cloisonné, Champlevé, Painted enamel, Grisaille, Basse-taille, Ronde Bosse,
Sgrafitto, Stenciling, Plique-a-jour out of which Champlevé and cloisonné are
extensively followed by the artisans. Out of 30, 24 artisans answered that
Champlevé is the best technique suitable for enameling on coins and is also
possible with semi-precious stones. Every Artisan said that they are unaware
of the acceptance of these kind of jewellery by consumers as it totally
depends upon the taste of the consumer.

While exploring the coins it was analysed that Old Indians coin that has a
mirror like background to the surface of the coin and the design that is
frosted looking, these designs are raised from the field of the coin, creating a
certain amount of depth which can be used for enamelling. While the
religious coins have more depth and can produce perfect and beautiful
results. These depths in coins are perfect for the technique champlevé; if
91
additional depth is required the background can be engraved without
disturbing the original motifs and characters of the coin.

While exploring the two most favorable technique it was analyzed that
Cloisonné and Champlevé, it was studied that champlevé provided better
results. While exploring the coins it was made possible to select coins with
characteristics like : The base metal should be compatible with enamel, and
the designs and motifs are more precise and clear for favorable results.

From the findings of Pilot study it was very clear that females purchased
jewellery for investment and like Meenakari to some extent only, the designs
of the jewellery should be Casual Daily wear under a range of 5000 – 10,000.

While experimenting Meenakari on coins, It was seen that Meenakari did not
provided good results on the metal bronze and on small coins it was difficult
to paint with enamel. But on the other hand, enameling on silver coin was
good and colors were clear and transparent.
92
6. Chapter: Design Exploration
93
6.1. Mood Board
Mood boards are often used by designers to enable a person to illustrate
visually the direction of style which they are pursuing. However, in this
research mood board was to visually explain a certain style of Meenakari
coined jewellery or an imaginary setting for a storyline. In short, mood boards
are not limited to visual subjects, but serve as a visual tool to quickly inform
others of the overall 'feel' (or 'flow') that a designer is trying to achieve. Mood
board is a visual guide created and a clear vision of where you’re headed it’s
much easier to jump right in to the visual prototyping process.
Plate 6.1: Mood Board
6.2. Concept Board
A Concept board is a form of stimulus material, comprising visual and/or
verbal representation of an idea for a product, often outlining its attributes
and benefits and used to present this idea to participants in research. These
are usually mounted on large boards so a group of people can easily see them.
94
For the design development a concept board was developed which was
helpful in further design development process.
Plate 6.2: Concept Board
6.3. Development of Sketches
A sketch is a rapidly executed freehand drawing that is not usually intended
as a finished work. A sketch may serve a number of purposes: it might record
something that the artist sees, it might record or develop an idea for later use
or it might be used as a quick way of graphically demonstrating an image,
idea or principle. For the development of the Designs for prototype a total
number of 25 sketches were done out of which 5 sketches were finalised for
further process. These sketches were helpful in further explaining the
designs to the artisans and it was also helpful in finalising the designs in the
design development stage.
95
Plate 6.3: Sketches of pendants and earrings
Plate 6.4: Sketches of pendants and necklaces
96
Plate 6.5: Sketches of pendants, brooches and earrings
6.3.1. Final Sketches
A. Sketch 1
Plate 6.6: A pendent with teardrop shaped semi-precious stones
97
B. Sketch 2
Plate 6.7: A pendent with round shaped semi-precious stones
C. Sketch 3
Plate 6.8: A brooch with pearls
D. Sketch 4
Plate 6.9: A pendant of 1 anna coin
98
E. Sketch 5
Plate 6.10: Pair of earrings with pearls and semi
precious stones
Plate 6.11: Pendant with pearls
and Semi precious stones
6.4. Experimentation of Technique
The champlevé technique was experimented on a silver coin which is usually
used in religious occasions. The following steps were followed while
experimenting the technique:
1. At first the coin is cleaned with sulphuric acid so that no traces of oil
remain on the surface of the coin
2. Enamel colours are thoroughly cleaned with water so that no impurities
remain in the colour.
3. This enamel colour is mixed with glue and then applied on to the surface
of the coin. This process is done very carefully so that the colour does not
come onto the motifs.
4. Once the colour is applied, the coin is left to get dried up.
5. The coin is torch-fired for 2 minutes, till the enamel melts.
6. After one firing, colour is again applied to coin and then fired again for
getting perfect results.
7. The coin is washed with sulphuric acid; the acid bath gives a natural shine
to the coin.
99
Plate 6.12: Experimentation of Technique
1. Cleansing the coin
2. Displaying the coin
3. Application of enamel colours
4. Application of enamel colours
5. Drying of coin
6. Torch firing
7. Torch firing
8. Torch firing
9. Final display of coin
100
7. Chapter: Design Development
101
7.1. Making of the Meenakari coined Jewellery
After the Design development stage, the sketches were carried forward to the
design development stage where the 5 samples of Meenakari coined jewellery
were made. The making of the prototype underwent through 6 stages. These 6
stages took a long time of 4 weeks.
7.1.1. Stage 1
The first stage included the framing of the coins were the coins were given a
silver frame so that the inner coin was not available for soldering and hence
the coin could be anytime taken out of the frame. Also the stones were given a
silver framing. When the process was completed, it was put on the clay so that
it could me made ready for the next stage for soldering. This process took
about 4-5 days.
Plate 7.1: Stage 1 of making of jewellery
102
7.1.2. Stage 2
Once the frames are created, plaster of paris is spread all over the coins. This
plaster of paris is left for 4-5 hours for drying so that they can be made ready
for the later process. This stage took 1 day.
Plate 7.2: Stage 2 of making of jewellery
7.1.3. Stage 3
Once the plaster of paris is dried, the frames are soldered together, to create
one single frame. This process took 4-5 days.
103
Plate 7.3: Stage 3 of making of jewellery
7.1.4. Stage 4
The soldered pieces are cleaned properly, and prepared for Meenakari and
stone setting process. This process took 1 week.
Plate 7.4: Stage 4 of making of jewellery
104
Plate 7.5: Stage 4 of making of jewellery
7.1.5. Stage 5
The coins are given to the stone setter for the setting of stones and given for
polishing and plating. The stones are handpicked which brings life to the
delicate designs of the coin that is subtly enthralling and decadently exclusive.
This stage took about 2 weeks.
Plate 7.6: Stage 5 of making of jewellery
105
7.1.6. Stage 6
This is the final step of the Design development process, once the stone are set
the piece can be enameled and then cleaned properly for no carbon remains.
The delicate embellishment and the depth of the detail is maintained during
this stage. The whole process took a period of 10-12 days.
Plate 7.7: Stage 6 of making of jewellery
.
106
7.2. Feedback
A feedback survey was conducted with the same consumers who were
interviewed in the pilot study, also with the same Meenakari artisans so as to
understand the attitude of potential consumers and artisans towards
Meenakari coined jewellery and subsequent quantitative and qualitative
research would be carried in order to measure how widespread these
attitudes are.
7.2.1. Feedback of consumers
A Feedback of 22 Female respondent was conducted, this Focused research
was conducted in order to learn and understand the attitude of potential
consumers towards Meenakari jewellery and subsequent quantitative
research would be carried in order to measure how widespread these
attitudes are.
a. Purpose
The research was carried out to refine the objectives and provide lines of
enquiry for Design experimentation. This research was an attempt to find
out the answers of the following:
The respondents would like to buy Meenakari coined jewellery?
What all ratings they give to the jewellery?
What would be the most preferred choice on coins?
How much they would like to pay for the jewellery?
b. Procedure
This research was carried out internally in Mumbai, and it was made possible
to connect to the same females who were interviewed in the pilot study.
107
Brief information was given on the requirements of the research and a sample
of all Meenakari coined jewellery was shown so as to get information on the
main question that rose during the research.
c. Findings
11
12
10
8
8
6
3
4
2
0
0
Slightly
appealing
Not at all
appealing
0
Extremely
appealing
Very appealing Moderately
appealing
How visually appealing is the Jewellery set?
Chart 7.1: How visually appealing is the Jewellery set?
When 22 females were asked about the visual appeal of the Jewellery set, 8
Answered that it is extremely appealing, 11 answered that it is very appealing
and only 2 answered that is moderately appealing.
12
10
10
7
8
6
4
4
1
2
0
0
Extremely
appealing
Very appealing Moderately
appealing
Slightly
appealing
Not at all
appealing
How visually appealing is the Necklace 1?
Chart 7.2: How visually appealing is Necklace 1?
When 22 females were asked about the visual appeal of the Necklace 1, 4
answered that it is extremely appealing, 7 answered that it is very appealing and
10 answered that is moderately appealing and 1 answered slightly appealing
108
12
11
10
8
8
6
4
3
2
0
0
Slightly
appealing
Not at all
appealing
0
Extremely
appealing
Very appealing
Moderately
appealing
How visually appealing is the Brooch?
Chart 7.3: How visually appealing is the Brooch?
When 22 females were asked about the visual appeal of the Brooch, 3 answered
that it is extremely appealing, 8 answered that it is very appealing and 11
answered that is moderately appealing.
12
10
10
8
8
6
4
4
2
0
0
Slightly
appealing
Not at all
appealing
0
Extremely
appealing
Very appealing
Moderately
appealing
How visually appealing is the Necklace 2?
Chart 7.4: How visually appealing is the Necklace 2?
When 22 females were asked about the visual appeal of the Necklace 2, 4
answered that it is extremely appealing, 10 answered that it is very appealing
and 8 answered that is moderately appealing.
109
12
11
10
8
7
6
4
3
2
1
0
0
Extremely
appealing
Very appealing
Moderately
appealing
Slightly
appealing
Not at all
appealing
How visually appealing is the Necklace 3?
Chart 7.5: How visually appealing is the Necklace 3?
When 22 females were asked about the visual appeal of the Necklace 3, 3
answered that it is extremely appealing, 11 answered that it is very appealing
and 7 answered that is moderately appealing and only 1 answered that it is
slightly appealing.
How much would you rate them on a scale of 1 to 5?
where 1 is highest and 5 is lowest
18
16
14
12
10
8
6
4
2
0
Jewellery set
Necklace 1
Brooch
Necklace 2
Necklace 3
1
17
2
3
5
7
2
1
15
10
9
8
3
2
3
7
6
6
4
1
1
1
1
0
5
1
1
1
1
1
Chart 7 6: How much would you rate them on a scale of 1 to 5? Where 1 is highest
and 5 is lowest
When 22 females were asked about the ratings of the jewellery, they rated the
jewellery set the highest, after that they rated the Necklace 1; after that the
brooch and then the Necklace 2 followed by Necklace 3.
110
How much would you rate them on a scale of 1 to 5? where 1 is
highest and 5 is lowest
14
12
10
8
6
4
2
0
Innovative
Beautiful
Elegant
Material
Overall Look
1
11
2
3
6
9
2
5
12
9
10
6
3
4
5
7
5
5
4
1
2
2
0
1
5
1
1
1
1
1
Chart 7.7: How much would you rate them on a scale of 1 to 5? Where 1 is highest
and 5 is lowest
When 22 females were asked about the ratings of the jewellery on the terms of
Innovation, Beauty, Elegant, Material, Overall Look; they rated the beauty of the
jewellery the highest, after that they rated the Innovation; after that the Material
of the jewellery and then the Elegant followed by Overall Look.
25
20
20
15
10
5
2
0
Yes
No
Would you like to purchase this jewellery?
Chart 7.8: Would you like to purchase this jewellery?
When 22 females were asked that whether they would like to buy this jewellery,
2o females answered yes and only 2 answered no.
111
15
16
14
12
10
7
8
6
4
2
0
0
Somewhat too
High
Slightly too
High
About right Slightly too Low Somewhat too
Low
The Meenakari coined jewellery ranges from 1500-2500, Do you think prices
at are too high, too low, or about right?
Chart 7.9: Do you think prices at are too high, too low, or about right?
When 22 females were asked about the price of the jewellery 15 answered that
the prices are about right and 7 answered that it is slightly too high.
12
11
10
10
8
6
4
2
1
0
Meenakari only
Meenakari with semi
precious stones
Semi precious stones only
What would you prefer the most on coins?
Chart 7.10: What would you prefer the most on coins?
When 22 females were asked about what they would prefer the most on
jewellery, 11 answered that they would prefer Meenakari with semi precious
stones on coins and 10 answered that they would only prefer semi precious
stones on coins, and only 1 answered meenakari only on coins.
112
d. Analysis of Feedback
Analysis of the feedback shows that Jewellery set was the most preferred
choice among the consumers they rated jewellery set the highest among the
other 4 jewellery pieces; they rated the jewellery highest in terms of beauty
followed by Innovation and Material. When asked about whether they would
like to purchase the jewellery 20 females answered they would like to
purchase the jewellery and majorly thinks that the price of the jewellery is
about right, Consumers answered that they would like Meenakari with semi
precious stones on coins and also Coins with Semi precious stones only.
7.2.2. Feedback of artisans
When feedback was taken from the artisans who were interviewed in the pilot
study, they answered that Meenakari on the coins looked untidy and hence
the meenakari is the area which demands a lot of attention and cleanliness.
The meenakari should not come on the motifs of the coins.
When asked about the frame of the jewellery pieces they answered that more
designs can be introduced into the frames but this would increase the labour
cost and silver cost and hence the overall price of the jewellery would
increase.
They also said that more variety of semi precious stones can be used in the
jewellery but this also increased the cost of the jewellery.
Thus from the analysis it was clear that Meenakari on the coin should be done
more precisely and with great attention, more semi-precious stones should be
introduced on the coins, and more designs on the frames of the coins can be
introduced.
113
8. Chapter: Conclusion and
Further scope of study
114
8.1.
Conclusion
The Research shows that, Meenakari coined Jewellery demands a lot of
perfection in terms of application of (Meena) enamel colours on the coin. If
this process is not done properly the effect and the appearance of the coin is
dull and not attractive. The handpicked semi precious adds life to the coins
and increases the aesthetic and historic value of the coins. Both meenakari
with semi-precious stones on coins and coins with semi precious stones only
are majorly demanded by the consumers. The consumers liked the beauty and
aesthetic value that has been added on the coin by doing enamelling and
adding semi precious stones on the frame of the coin. Also one of the major
role is that the coin does not loses its value as the outer frame of semi
precious stones prevents it from getting soldered and hence any time it can be
removed and retained.
When asked to the artisans about the Meenakari on the coins, they answered
that it looked untidy and hence the meenakari is the area which demands a lot
of attention and cleanliness. The meenakari should not come on the motifs of
the coins. When asked about the frame of the jewellery pieces they answered
that more designs can be introduced into the frames but this would increase
the labour cost and silver cost and hence the overall price of the jewellery
would increase. They also said that more variety of semi precious stones can
be used in the jewellery but this also increased the cost of the jewellery. Thus
from the analysis it was clear that Meenakari on the coin should be done more
precisely and with great attention, more semi-precious stones should be
introduced on the coins, and more designs on the frames of the coins can be
introduced.
Overall the consumers like the idea of the introduction of meenakari on coins
but the areas where the improvement in needed is in the application of
enamel colour on coins, champlevé is the technique which is most suitable but
any other technique can be introduced, which would provide greater ease of
115
application of enamel colours on the coins without disturbing the motifs of the
coin.
Thus it was concluded that Meenakari which is very traditional has also been
converted into contemporary form thus increasing its aesthetic appeal. The
delicate embellishment and the depth of the designs were achieved and the
luscious and the delicate intricacy of each jewellery piece have tried to flutter
for more for the consumers. A range was designed with time-tested artistry,
passion, perfection and luxury. The Intricate patterns of Old Indian-British Raj
coin beautifully enamelled with hand selected stones bringing to life the
delicate designs that is subtly enthralling and decadently exclusive.
8.2.
Limitations
Coins are usually made of an alloy (often copper or nickel) to make it more
durable. This is done in order to make the coin harder and therefore less
likely to be worn down as quickly. Meenakari can be done only on pure
metals like gold, silver and copper. And enamelling on alloy is not possible.
Nickel alloys usually include zinc-typically up to about six percent-for several
reasons. As zinc and nickel are metals which have low melting point, these
metals can mix up with enamel colours during the fusing process and can
result to bad results. There are two problems associated with zinc: The
presence of zinc oxide on the metal surface prevents adhesion and leads to
colour problems. The metal volatilizes from the surface at enamelling
temperatures, even if the surface has been pre-cleaned. Thus it is very
necessary to study the coin metal before doing enamelling on the coin.
The technique Champlevé can be further studied and practiced to the deepest
and fullest, because during the research the designs and the motifs of the coin
did not come out clean and precise hence much more attention has to be paid
while doing the enamelling.
More designs in jewellery should be introduced and also the market of semi
precious stones should be studied properly for further research.
116
8.3.
Further scope of study
The Champlevé technique should be studied and practiced to the deepest and
fullest, and further more experimentation in the application of enamel colours
should be done so as to get proper and perfect results in application of
colours.
More designs and semi-precious stones should be studied and experimented
on coins for more appealing jewellery. Meenakari can be done on various
other forms of jewellery like rings, bangles, choker necklaces, anklets,
bracelets and so on.
The introduction of enamelling on religious coins should also be introduced
and this coin can be used for gifting purposes during weddings and special
occasions.
117
References
[1] Utrecht, Oppi. Traditional Jewellery of India. New York: Abrams, 1997
ISBN 0-8109-3886-3. p15
[2] "Bangles". <Tamilnadu.com.> accessed on 04 March 2013
[3] Utrecht, Oppi (1997). Traditional Jewelry of India. pp. 278. ISBN 0-81093886-3.
[4] Prior, Katherine (2000). Maharajas Jewels. New York: Harry N. Adams. pp.
12. 36
[5] Prior, Katherine (2000). Traditional Jewelry of India. New York: Vendome.
pp. 312.
[6] Oppi Utrecht, Jewelry Concepts & Technology - Complete Reference
Guide, Doubleday, accessed on 05 March 2013
[7] William Meacham, The Neolithic of South China, www.jstor.org, accessed
on 2nd Feb, 2013
[8] Elena Neva, Types and Forms of Ancient Jewelry from Central Asia ,
www.transoxiana.org, accessed on 24th Feb, 2013
[9] Handcrafted Indian enamel jewellery by Rita Devi Sharma and M.
Varadarajan
[10] PBS, The Story of India . <www.latimes.com>, accessed on 5th Feb, 2013
[11] Elena Neva, Types and Forms of Ancient Jewelry from Central Asia .
<www.transoxiana.org>, accessed on 5th March 2013
[12] Utrecht, Oppi. Traditional Jewellery of India. New York: Abrams
[13] Neich, R., Pereira, Pacific Jewellery and Adornment.
[14] Michel Danino, The Indus-Sarasvati Civilization .
<www.voiceofdharma.com>, accessed on 2nd Feb, 2013
[15] Radha Krishnamurthy, Gemmology in Ancient India .
<www.new.dli.ernet.in>, accessed on 5th Feb, 2013
[16] Solah Shringar for Indian Bride . <www.weddings.iloveindia.com>
accessed on 5th Feb, 2013
[17] Colors of India Indian Bridal Fashion . <www.colors-of-india.com>
accessed on 10th Feb, 2013
118
[18] Women and Jewelry - The Spiritual Dimensions of Ornamentation .
<www.exoticindiaart.com>, accessed on 10th Feb, 2013
[19] Techniques of artistic enamelling, accessed on 10th Feb, 2013
<http://en.wikipedia.org/wiki/Vitreous_enamel>
[20] Kasumala Collection, accessed on 8th Feb, 2013,
<http://www.kalyanjewellers.in/>
[21] Helen-‘Cut Coin Jewellery Art’, accessed on 10th Feb, 2013,
<http://loljam.com/post/8473/>
[22] 14kt Gold Coin Jewelry, accessed on 10th Feb, 2013
<http://candg.homestead.com/coinjewelry.html>
[23] Ancient Coin Jewellery, accessed on 10th Feb 2013,
2013,<http://www.ownapieceofhistory.biz/index.php>
[24]
Finds And Farthings, accessed on 10th Feb, 2013
<http://www.etsy.com/shop/FindsAndFarthings>
[25] JEWELRY: GOLD COINS, accessed on 7th Feb, 2013,
<http://pinterest.com/cinom/jewelry-gold-coins/>
[26] Jewellery collections, Accessed on 24th March 2013,
<http://www.vummidi.com/jewellery-collections.aspx>
[27] Tanishq Gold Glam Collection, accessed on 5th March 2013,
<http://www.shopatindia.com/price/Tanishq-Glam-Gold-CollectionJewellery>
[28] Nayaab Jewels, accessed on 5th March 2013,
<http://www.nayaab.in/products/1 >
[29] TBZ Dohra Collection, accessed on 5th March 2013,
<http://www.tbztheoriginal.com/dohra-collection.html>
[30] ‘Arpana-‘Tanishq brings back Mughal Romance’, accessed on 5th March 2013
<http://www.bollywood.com/tanishq-brings-back-mughal-romancejodhaa-akbar-range>
[31] Chheda Jewels, “Mid-day” 14/3/13, pg 24
[32] Preeta Agarwal-‘The New Rajasthan Jewellery Collection’, accessed on 5th
March 2013, <http://www.thejewelleryeditor.com/2012/08/the-new-
rajasthan-jewellery-collection-by-zoya/>
119
[33] ‘Preeta Agarwal-‘Manish Arora and Amrapali’, accessed on 5th March 2013,
<http://www.thejewelleryeditor.com/2013/02/jewellery-collaborationbetween-two-legendary-indian-brands-manish-arora-and-amrapali/>
[34] ‘Sunita Shekawat Jewels’, accessed on 5th March 2013,
<http://www.thejewelleryeditor.com/2013/03/sunita-shekhawatjewels/>
120
Bibliography
a) Handcrafted Indian enamel jewellery by Rita Devi Sharma and M.
Varadarajan
b) Techniques of artistic enamelling, accessed on 5th march 2013
<http://en.wikipedia.org/wiki/Vitreous_enamel>
c) KasuMala Collection, accessed on 5th march 2013,
<http://www.kalyanjewellers.in/>
d) Helen-‘Cut Coin Jewellery Art’, accessed on 5th march 2013,
<http://loljam.com/post/8473/>
e) 14kt Gold Coin Jewelry, accessed on 5th march 2013
<http://candg.homestead.com/coinjewelry.html>
f) Ancient Coin Jewellery, accessed on 5th march
2013,<http://www.ownapieceofhistory.biz/index.php>
g)
Finds And Farthings, accessed on 25th march 2013, <
http://www.etsy.com/shop/FindsAndFarthings>
h) JEWELRY: GOLD COINS, accessed on 15th march 2013
< http://pinterest.com/cinom/jewelry-gold-coins/>
i) Jewellery collections, accessed on 9th march 2013,
< http://www.vummidi.com/jewellery-collections.aspx>
121
Glossary
Medallion- Medal, Decorative pendant
Hariti- Hariti (Avestan Harauhuti), is a Gandharan ( Peshawari ) ogress and
Bactrian mythological figure who was later transformed into a symbol for the
protection of children, easy delivery, happy child rearing and parenting,
harmony between husband and wife, love, and the well-being and safety of the
family. Women without children sometimes prayed to her to help them become
pregnant.
Repousse- Repoussé or repoussage is a metalworking technique in which a
malleable metal is ornamented or shaped by hammering from the reverse side to
create a design in low relief.
Alchemists- Related to or concerned with alchemy (Alchemy is an influential
philosophical tradition whose early practitioners' claims to profound powers
were known from antiquity.)
Speculation- a message expressing an opinion based on incomplete evidence
Numismatics- The study or collection of coins, paper currency, and medals.
Dinars- The basic monetary unit of the states of Yugoslavia, equal to 100 paras
Staters- An ancient Greek gold or silver coin
Kahavanus- An ancient gold coin for investing money
Pagodas- A Hindu or Buddhist temple or sacred building, typically a many-tiered
tower, in India and the Far East or An ornamental imitation of this
Tanka- A type of coin
Ashrafis- Gold coins of Mughals
Mohurs- Gold coins of Mughals
Gadyanas- Gold coins
Bhairava- Terrible or frightful
Gadyanas- type of coin
Varahas- type of coin
Amethyst-A precious stone consisting of a violet or purple variety of quartz
Carnelian- A semiprecious stone consisting of an orange or orange-red variety
of chalcedony
122
Lapis lazuli- A bright blue metamorphic rock consisting largely of lazurite
Shiva Pashupati- Lord of animals in vedas
Hilt- The handle of a weapon or tool, sword, dagger, or knife
Ascension- The act of rising to an important position or a higher level.
Sarpeech- feather pin
Kada- Bangle
Hansuli- Choker Necklace of Rajasthan
Kundan- Kundan keshri is a traditional Indian gemstone jewelry, a method of
gem setting in a jewellery piece
Borala- Head jewel like in Indian Tika
Nav-Ratnas- Jewellery of Nine jewels
Chitras- The person who makes drawings
Lambadi- The Banjara are a people from the Indian state of Rajasthan
Podahari- A necklace from South India
Kasumala- Necklace of coins from South India
Chand Balas- Earrings
123
Annexure 1
Questionnaire for Pilot study
I am a student of NIFT, department- Masters in Design, and presently doing my Dissertation on “Traditional
Meenakari on coins”. I request you to kindly fill this questionnaire below.
I assure you that the data generated shall be used only for academic purpose and would be kept confidential.
The objective of the questionnaire is to find the acceptance of enameled coined jewellery in the market.
Name: ____________________________________
Age:
20-30
30-40
Education:
Degree
Doctorate degree
40-50
50-60
Masters Degree
HSC
Bachelors
SSC
None of the
above
Marital Status:
Widowed
You are currently:
Unemployed
Single
Married
Homemaker
Current Monthly Income:
50,000
50,000-75,000
Separated
Student
Under 10,000
Divorced
Retired
10,000- 25,000
75,000 and above
1. What type of Jewellery do you purchase? [Multiple choice]
1) Fashion jewellery
2) Gold Jewellery studded with color gemstones
3) Coin jewellery
4) Gold with Meenakari
5) Plain gold jewellery
6) Pearl gold jewellery
7) Platinum jewellery
8) Silver jewellery
9) Silver with Meenakari
10) Others, please specify______________________
2. How frequently do you purchase jewellery (on an average)?
1) Once a month
2) Once every six month
3) Once a year
4) Only on special occasions
5) Others, please specify______________________
3. When (on what occasion) do you wear jewellery?
124
Employed
25,000-
1)
2)
3)
4)
5)
Daily
On weddings
On festival
Special occasions
Others, please specify______________________
4. Your perception of jewellery?
1) As Adornment
2) As Investment
3) Both as adornment and investment
4) Others, please specify______________________
5. What kind of jewellery do you buy the most? [Multiple choice]
1) Rings
2) Earrings
3) Chains
4) Necklace
5) Pendants
6) Bangles
7) Bracelets
8) Gold set
9) Mangal sutra
10) Others, please specify______________________
6. When buying jewellery what do you value the most? [Multiple choice]
1) Craftsmanship
2) Cost
3) Uniqueness
4) Purity
5) Others, please specify_____________________
7. The purpose of purchase of your jewellery? [Multiple choice]
1) For own use in household
2) For marriage in the family
3) Gift to close friends and relatives
4) To Safeguard family as gold and silver in highly liquid asset
5) For Traditional values
6) For investment purpose
7) Considered as Status symbol
8) For religious significance
9) For kids
10) Others, please specify______________________
8. Occasions of jewellery purchase? [Multiple choice]
1) Wedding
2) Festivals (Akshaya Tritiya, Diwali, Id, Christmas, Dusshera)
3) Bonus/ sudden Financial Gain
125
4) Baby birth
5) Birthdays
6) Anniversary
7) House warming
8) New year
9) No specific Reason
10) Others, please specify______________________
9. Occasion of purchasing Gold and Silver coins? [Multiple choice]
1) Wedding
2) Festivals (Akshaya Tritiya, Diwali, Id, Christmas, Dusshera)
3) Bonus/ sudden Financial Gain
4) Baby birth
5) Birthdays
6) Anniversary
7) House warming
8) New year
9) No specific Reason
10) Others, please specify______________________
10. Do you like collecting Old coins (Old Indian, British era, foreign coins)?
1) Yes
2) No
11. What do you do with these coins (gold, silver or old coins)? [Multiple choice]
1) Make a collection of coins
2) For own use in household
3) For marriage in the family
4) Gift to close friends and relatives
5) To Safeguard family as gold and silver in highly liquid asset
6) For Traditional values (use them in pooja)
7) For investment purpose
8) Considered as Status symbol
9) For religious significance
10) For kids
11) Others, please specify______________________
12. Would you like to convert these coins into beautiful ornamented jewellery
piece (e.g. Coin jewellery)?
1) Yes
2) No
13. Purchase point? (Multiple choice)
1) Branded outlets
2) Unbranded outlets
3) Franchisee brand showrooms
4) Exhibition
126
5) Online purchases
6) Others, please specify______________________
Traditional Meenakari Coined jewellery
Meenakari Enameling is the art of colorings or decorating a metal surface by attaching or fusing pieces of
different mineral substances, over it. Many Indians make it a point to own gold and silver, if for no other
reason than to use it in weddings. This is usually in the form of high cartage gold made into jewellery, often
incorporating gold and silver coins. During weddings there is tradition of gifting gold and silver as lucky
wedding gifts.
The idea is to collect such coins also the valuable coins of India and Finding the best suitable technique & create
invention in the field of coin jewellery by doing enameling on the surface of coins and thereby converting them
into beautiful piece of jewellery.
14. Are you aware of Meenakari jewellery?
1) Yes
2) No
15. Do you possess any Meenakari jewellery?
1) Yes
2) No
16. Have you ever purchased Meenakari jewellery?
1) Yes
2) No
17. Do you like Meenakari on jewellery?
1) Yes, very much
2) To some extent
3) No
Give Reasons (if either you answer- yes or no)
_______________________________________________________________________________
18. Will you like to wear contemporary jewellery by crafting Meenakari on
Coins?
1) Yes
2) No
Give Reasons (if either you answer- yes or no)
_______________________________________________________________________________
19. Have you ever come across any Meenakari on Coins as Jewellery?
1) Yes
2) No
20. If yes, then in what form?
1) Rings
2) Earrings
3) Necklace
4) Pendants
127
5)
6)
7)
8)
Bangles
Bracelets
Cufflinks
Others, please specify______________________
21. If yes, which type of Meenakari coined jewellery would you purchase?
[Multiple choice]
1) Traditional (Heavy Choker necklace, heavy earrings, Kamarbandh,
Bangles, Rings)
2) Casual Daily wear (Light pendent set, Small earrings, Bracelets, Rings)
3) Fashion jewellery (Cufflinks, Costume Jewellery like waistcoat and belt,
headgear, Rings)
4) Others, please specify______________________
22. What would be your most preferred choice in Meenakari coined jewellery?
1) Coins with Meenakari only
2) Coins with Semi-precious stones only
3) Coins with both Meenakari and Semi-precious stones
4) Others, please specify______________________
23. How much would you spend on Meenakari coined jewellery?
(depends on the weight of the coin (size and number of coins) + current rates of
Gold and silver + making charges)(2500 is the starting range)
1) 2500- 5000
2) 5000-10,000
3) 10,000-25,000
4) 25,000-50,000
5) 50,000 and above
24. Your Comments or suggestions on “Meenakari Coined Jewellery”
_________________________________________________________________________________________________
_________________________________________________________________________________________________
_________________________________________________________________________
Thank you for your time and co-operation
128
Annexure 2
Questionnaire for Artisans
I am a student of NIFT, department- Masters in Design, and presently doing my Dissertation on “Traditional
Meenakari on coins”. I request you to kindly fill this questionnaire below.
I assure you that the data generated shall be used only for academic purpose and would be kept confidential.
The objective of this questionnaire is to find out the best suitable technique for enameling on coins
Artisans Name: ____________________________________
Age:
20-30
30-40
Education:
Degree
Doctorate degree
40-50
50-60
Masters Degree
HSC
Bachelors
SSC
None of the
above
Marital Status:
Widowed
You are currently
Single
Married
Retired
Current Monthly Income:
50,000
50,000-75,000
Separated
Employed
Under 10,000
Divorced
Unemployed
10,000- 25,000
25,000-
75,000 and above
1. From how long are you doing enameling?
_____________________________________________________________________________________________
_____________________________________________________________________________________________
________________________________________________________________________
2. What according to you is the best metal suitable for enameling?
_____________________________________________________________________________________________
_____________________________________________________________________________________________
________________________________________________________________________
3. Is enameling possible on old Indian coins?
_____________________________________________________________________________________________
_____________________________________________________________________________________________
________________________________________________________________________
4. If yes, would it be possible to do on all sizes available on coins?
_____________________________________________________________________________________________
_____________________________________________________________________________________________
________________________________________________________________________
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5. Would it be possible for doing enameling on religious coins?
_____________________________________________________________________________________________
_____________________________________________________________________________________________
________________________________________________________________________
6. If yes, would it be possible to do on all sizes available on coins?
_____________________________________________________________________________________________
_____________________________________________________________________________________________
________________________________________________________________________
7. How many techniques are there in enameling?
_____________________________________________________________________________________________
_____________________________________________________________________________________________
________________________________________________________________________
8. What all techniques in enamelling are you familiar with?
_____________________________________________________________________________________________
_____________________________________________________________________________________________
________________________________________________________________________
9. What according to you is the best technique for enamelling on coin?
_____________________________________________________________________________________________
_____________________________________________________________________________________________
________________________________________________________________________
10. Why would the technique you mentioned would be best suited for
enamelling on coins?
_____________________________________________________________________________________________
_____________________________________________________________________________________________
________________________________________________________________________
11. Is Meenakari possible with Semi-precious stones?
_____________________________________________________________________________________________
_____________________________________________________________________________________________
________________________________________________________________________
12. Do you think traditional Meenakari jewellery be accepted by people?
_____________________________________________________________________________________________
_____________________________________________________________________________________________
________________________________________________________________________
13. Your Comments or suggestions on “Meenakari Coined Jewellery”
_________________________________________________________________________________________________
_________________________________________________________________________________________________
_________________________________________________________________________
130
Annexure 3
Questionnaire for Feedback
I am a student of NIFT and have been doing my dissertation on "Meenakari
Coined Jewellery" for the past 4 months. I want a consumer feedback for my
jewellery. Kindly fill the form it will not take more than 2 minutes. The answers
would be kept confidential.
1. How visually appealing in the jewellery
set?
Extremely appealing
Very appealing
Moderately appealing
Slightly unappealing
Not at all appealing
2. How visually appealing did you found the Necklace 1?
Extremely appealing
Very appealing
Moderately appealing
Slightly unappealing
Not at all appealing
131
3. How visually appealing did you found the Brooch?
Extremely appealing
Very appealing
Moderately appealing
Slightly unappealing
Not at all appealing
4. How visually appealing did you found the Necklace 2?
Extremely appealing
Very appealing
Moderately appealing
Slightly unappealing
Not at all appealing
132
5. How visually appealing did you found the Necklace 3?
Extremely appealing
Very appealing
Moderately appealing
Slightly unappealing
Not at all appealing
6. How much would you rate them on a scale of 1 to 5? (Where 1 ranks highest
and 5 ranks lowest)
1
2
Jewellery set
Necklace 1
Brooch
Necklace 2
Necklace 3
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3
4
5
7. How would you rate the concept on the following terms? (Where 1 ranks
highest and 5 ranks lowest) (Material used is silver and semi precious stones)
1
2
3
4
5
Innovative
Beautiful
Elegant
Material
Overall Look
8. Would you like to purchase this jewellery?
Yes
No
9. The Meenakari coined jewellery ranges from 1500-2500, Do you think
prices at are too high, too low, or about right?
Somewhat too high
Slightly too high
About right
Slightly too low
134
Somewhat too low
Much too low
10. What would you prefer the most on coins?
Meenakari only
Meenakari with semi precious stones
Semi precious stones only
11. Any comments/ Suggestions
135
Annexure 4
Costing
Materials
Cost
Old Coins
2000
Silver costing (60 gms)
4000
Stones (per carat)
2000
Making charges
400 (per piece)* 6 =2400
Total
10400
The total cost of making six products was 10,400, which results that each
product costed Rs.1733.33
136
Annexure 5
Brochure
137
138
139