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Grass or gold, it glitters
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Jewellery through the ages... that was the focus of the international `Grass to Gold' convention. SHONALI MUTHALALY reports
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The diamond story: Ganjam's "STEM." - Pic. by R. Ragu
IN THE beginning, there was grass. Grass and seeds. Vines and beads. Stones and flowers. Claws and feathers. Worn all over the world, for symbolism and decoration. So while brides in some parts of India covered themselves with flowers, instead of jewellery, Native Americans wore brilliant feathers in their hair. Gradually, people discovered string, then wire, then gold and silver... As craftsmanship and technique evolved, jewellery became more and more elaborate, keeping pace with the needs and aspirations of every generation.
The international `Grass to Gold' convention, organised by the Crafts Council of
India and the Office of the Development Commissioner (Handicrafts), Ministry of Textiles, Government of India, was held recently at the Taj Coromandel. It brought together a fascinating group of speakers — ranging from academics to shilpgurus (master craftsmen) — to discuss jewellery traditions: their evolution, their social, religious and cultural significance and the need to preserve the past. The convention began with an `Ode to the craftperson' choreographed by danseuse Anita Ratnam, in which she and her team traced the evolving work of craftsmen to dramatic music. The STEM performance, sponsored by Ganjam, which was held on the same day, told a story too - but it concentrated on the origin of diamonds, beginning with fire, water and wind.
Although the venue was crammed with silk-clad delegates weighed down with fabulous pieces of jewellery, one interesting fact that emerged from the talks was that, traditionally, in India, jewellery was not worn for purely ornamental reasons.
Jewellery design in India has never been static - Oppi Untracht
Oppi Untracht, a crafts specialist, author and leading global authority on jewellery, said in his travels around India, he had found that "jewellery was always part of life. It had meaning and use." Fifty years ago, Untracht painstakingly covered the entire country — towns, cities and villages — "living the life of a gypsy" in an attempt to document Indian jewellery and crafts, many of which have been wiped out today. Discussing how he used to find whole villages devoted to an entire craft, he spoke of how "even rural women were covered in spectacular jewellery years ago. Clothing was minimal, people wore jewellery as part of their attire."
Social significance
Tushaar Mehta, chairman of the Gold Club, and trustee of Mehta Jewellery, discussing the "role of social, cultural and religious beliefs in the making of ornaments," spoke about how, even now, jewellery was being used to mark "transition, marriage, childbirth, honour and awards. In the fulfilment of vows and for thanksgiving."
Jewellery in India, he said, was a form of identification, to tell people which group the wearer belonged to — whether social, military, geographical or governmental. The craftsmen, therefore, were of paramount importance, and had always been so. "The ancient jewellery of the world is a tribute to the ancient craftsman, a master of metallurgy who painstakingly crafted using his genius," said Mehta. However, in India craftsmen had always occupied "positions low in the hierarchy." They were trusted by kings, and handled incredibly valuable jewellery, but earned a pittance. Not much had changed.
According to Meera Kumar, author and expert on ancient Indian jewellery, century-old crafts were dying out because craftsmen did not want their children to follow in their footsteps. "The patwa, for example, who threads jewellery, would rather educate his son, and send him to a factory, than have him continue his ill-paid, labour intensive and unappreciated tradition."
"Traditions are tied up with function," continued Kumar. "Glass bangles, for instance, are in no danger of becoming obsolete because the masses use them every day." However, although change was inevitable, it was important that people made an effort to appreciate, use and thus revive ancient crafts. Lucknowi work, kundan and kalamkari, for instance, were great examples of dying crafts that survived simply because they became fashionable.
Epics on cloth
Shilpguru Gurappa Chetty said that just a couple of decades ago, his father and another relative were the only two people in the country who knew the art of Kalamkari (recreating the epics on cloth with an ink pen).
Today, thanks to the efforts of the government and organisations like the Crafts Council of India, there were more than 150 Kalamkari artists in his village alone. And, more important, he wanted to remain a craftsman, wanted his sons to become craftsmen and said, "In my next life, I want to be a craftsman again. How else will I keep culture and tradition alive?" And these craftsmen have obstinately kept traditions alive for centuries.
Danseuse Anita Ratnam performing at the `Grass to Gold' convention. — Pic. by K.V. Srinivasan
Shilpguru Jagdhish Raj Soni's family has been doing Thewa work (fusing 23K gold on multicoloured glass) for the past 400 years in a village in Rajasthan called Pratapgarh. The technique has remained unchanged, and even today his family's Thewa work is identical to the work his ancestors did for the Rajput kings so many years ago. Although his family kept their techniques a secret for many years, he now teaches it around the world, so the tradition doesn't die.
"There is an evolution of design. Jewellery design in India has never been static," said Untracht. "Indian designers today," he added, "have fantastic potential because they're inspired by traditional ideas."
India now just needs to figure out how to persuade its masses to keep the past alive. To treasure the jewellery of their grandmothers, and patronise the artisans of yesterday.
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What they signify
Nose ring: Called the nath, which literally means `lord and master,' Untracht said, "It's worn by a married woman to signify that she is being led by the nose."
Earrings: Piercing the ear is believed to stimulate specific points and thus contribute to good physical and mental health. In Mali, the size of the earrings increases in proportion to the wealth of the family.
The Chettiar thali: The most sensational of all Indian designs, according to Untracht. "The five projections at the end represent the crab because they were originally a fishing community."
Gold waistband: A gold chain around the waist of a child is believed to prevent polio.
Wedding rings: A circle. Therefore, no beginning, no end. Eternity.
Bangles: Important ornaments for a bride. Red bangles are especially auspicious. Their sound is supposed to be exceedingly seductive.
Anklets: The tinkling sound they make is associated with the arrival of women. They are rarely made in gold because gold is believed to be sacred and to wear it on the foot would be to defile it.
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