Van Gelder Indian Jewellery - Vangelderjewellery.com

The Impulse to adorn,
Beauty, Power & Grace
The jewellery illustrated in this brochure is offered for sale by
Van Gelder Indian Jewellery
It is with great pleasure that we present our second cataloque, which we hope you will enjoy.
The purpose of Beauty, Power & Grace is to introduce you into the world of traditional Indian
Jewellery and the excitement of wearing unique pieces of this great culture.
During our travels we were offered fantastic jewellery and now we are pleased to share these
Beauty, Power & Grace with you.
Bernadette van Gelder
Fleur Fleur Damman – van Gelder Gelder
Noelle Viguurs – van Gelder
June 2011
For For further inqueries:
T +31 (0)6 53 88 35 60
E info@vangelderjewellery.com
I www.vangelderjewellery.com
1

Ganesha statue in Swami technique,
The elephant – headed God, the
Remover of Obstacles, God of Wisdom.
He wears a crown set with rose cut
diamonds. Swami jewellery is an Anglo-
Indian style of jewellery that flourished
during the peak period of the British
Raj in India.
The jewellery was created mainly by
P.Orr and Sons in Madras, Tamil Nadu
ca. 1849 till the early twentieth century.
The gold ornaments were available in
22 karat gold at P.ORR and Sons.
The jewellery was stamped ORR 22
which was remarkable because no
system of hallmarking was practiced in
India.
The local term Swami, meaning “god or
goddess” referred to the ornamentation
of these pieces with one or more
images of deities or Swamies of the
hindu pantheon.
Swami style jewellery was created in
the repousse technique in which a
malleable metal (gold/silver/tin etc) is
ornamented or shaped by hammering
from the reverse side
India, Tamil Nadu, late 19 th century

1 A gold Ganesha statue in Swami technique
India, Tamil Nadu, late 19 th century
3

2 A pair of gold bangles, Gajredar Bangri,
consisiting of eight half-cylindrical, hinged
sections, set with rubies, emeralds and
diamonds.
Outer diameter ca 8 cm;
inner diameter ca 6cm
India, Rajasthan, 20 th century
4

3 A gold necklace consisting of 4 open
worked amulet boxes, each set with rubies,
diamonds and emeralds and suspended
gold beads
India, Gujarat
19 th century
5

4 A necklace, a Kanti (necklace) consisting of square
beads and turqoise finials. The kantha-tudar; necklace
of several gold strings held with elaborate clasps
India, Gujarath, late 19 th century
6

5 A gold necklace decorated with 4 rosettes,
each set with turquoise and spinel, the
centerpiece is set with turquoise and diamonds
India, Rajasthan, Bikaner 19 th century
6 Flower-shaped gold
earrings, jarau karanphul
jhumka, set with diamonds
and turqoises, are
embellished with miniature
versions suspended from the
roundel, which when worn,
dangle at the cheek.
Rajasthan, Shekawati,
19 th century
7

7 A 20k gold ‘Nath’, a traditional
nosering, set with ruby, turquoise,
and pearls
Hindu, India, Uttar Pradesh,
Benares/Lucknow, 19 th century
A nose in India it’s an age old tradition
that’s heads back centuries and has
significance even today. In some parts
of India the nose ring is never removed
once a woman is married, and thus a
nose ring is often considered to be a
sign of marriage. Nose rings, although
closely associated with Indian culture,
actually originated in the Middle East.
Nose rings first appeared in India
during the Moghul period around the
16 th century. In fact, excavations in India
have not turned up any evidence of nose
rings in India prior to the 16 th century.
The nose rings that first appeared in
India were not actual rings, but were
small, flat, ornamental patterns - often
flowers - that were held in place by a
screw on the inside of the nostril.
The type of nose ring is largely
dependent on the area of the nose
where the nose ring will be worn. For
instance, studs, also known as phul,
are common when worn in the nostril.
Circular barbells, also known as nath,
are worn in the septum (the cartilage
between the nostrils), and straight
barbells adorn the area on the bridge of
the nose between the eyes. It’s possible
for septum rings to be so large that
they make it difficult to eat.
Some nose rings are so heavily
ornamented by jewels, pearls and so
on, that chains, which are attached to
the hair or over the earlobe are used
to help support the weight of the nose
ring.

8 A pair of large earpendants
consisting of a crescent moon and a
suspended fish, set with diamonds and
suspended pearls with green glass beads
India, Rajasthan, ca 1940
10

9 A gold necklace, Guttapusal, set with
ruby, emerald and diamond. The whole
is decorated with natural pearls of an
extraordinary measurements.
11
Guttapusal (necklace of bunches of
pearls)
Andhra Pradesh, early 20 th century
Bunches of small pearls (gutta) pierced
as beads (pusal). This ornament form
and name originated in areas close to
the ancient pearl fisheries along the
Coromandel coast
Lit ref Uppi Untracht p335 no 753
Lit ref Dance of the Peacock p52 no 52

These bangles are an example of one
of many typical wedding ornaments.
No single ornament, however, serves
this purpose throughout the Indian
subcontinent, as, for instance,
the wedding ring does in the West.
If an imaginary line is drawn between
northern and south India, it can be
said that to the north of this division
marriage symbol ornaments are worn
on the head, nose, wrist and toes; and
to the south they are worn suspended
from the neck. All the matrimonial
ornaments and jewellery have the basic
function of protecting against evil
spirits
The forms of jewellery and ornaments
also indicate the wearer’s geographical
place of origin, religion and also caste.
In some areas, the primary marriage
symbol ornament must be of gold, a
metal considered to be ritually pure and
sacred to the gods.

10 A set of 6 20 krt gold open worked
bracelets bangles. The edge of the
pair larger bangles is set with white
sapphires, or alternately with a work of
closely knit Basra pearls, moti jali. The
four smaller bangles are decorated with
open worked poppy flowers, set with
small Basra pearls and an emerald bead
in the centre. The brim is set with white
saphires, emeralds and Basra pearls.
India, Rajasthan, Bikaner, 19 th century
15

16
A necklace consisting of several strings
with Basra pearls and a 20k gold clasp.
The clasp is decorated with a nandi and
left and right with bird pattern
Throughout the history of Indian
Jewellery, no gem has been prolifically
used as the pearl. For many centuries
the best quality pearls were found in
the Persian Gulf.Until the 16 th century
the pearl trade was dominated by
the Arabs and Persians, but after the
Portugese colonisation, they took over
the trade. Pearls formed an important
asset of their Far East Trade. After the
Arabs regained control over the area,
they also took over the trade monopoly,
and this was in fact financed by the
Indians. The pearls came to shore at
the harbour city Basra, hence the name
‘Basra Pearls’.
After the pearls were washed, cleaned
and selected on colour, size shape and
lustre, they were send the Persian city
of Hormuz were the trade took place.
From here the pearls were shipped to
Mumbai, where the Indian trade took
place. From Mumbai the pearls were
distributed all over the country, and
were even sent overseas to the West.
Unfortunately, through extensive
fishing and pollution, there are no
longer pearls to be found in the Persian
Gulf, the Basra Pearl trade ended in the
late nineteenth century.

11 Nandi the bull which serves as the
mount of Shiva and as the gate keeper
of Shiva and Parvati in Hindu mythology.
Temples venerating Shiva and Parvati
display stone images of a seated Nandi,
generally facing the main shrine. There are
also a number of temples dedicated solely to
Nandi
North India, first quarter of the 20 th century
17

18
12 A pair of earpendants set with
rockcristal and suspended pearls and
blue glass beads
India, Rajasthan, ca 1940
13 A pair of gold earpendants set
with diamonds and suspended pearls
with green glass beads, the reverse
is decorated with multi coloured
enamelwork
India, Rajasthan, ca 1940
14 A pair of gold earpendants set with
diamonds, emeralds and suspended
pearls,
India, Rajasthan, ca 1940

15 A gold necklace set with white
saphires and emerald drops, the
reverse is decorated with multi
colored enemalwork
India, Bikaner, 19 th century
19

16 A 4 line necklace consisting of
natural pearls and a gold clasp in fine
repousé workmanship
North India 20 th century
17 A pair of gold domeshape
earpendants set with diamonds and
suspended pearls
India, Rajasthan, first quarter
20 th century
20

18 A gold necklace consisting of 18
paisley shape pendants and decorated
with a rim of natural pearls
India, Maharastra, second quarter of
20 th century
21

20 A gold necklace consisiting of
birdssegments set with ruby and
emerald and a centre pendant set with
rubies, emeralds and diamonds
India, Rajasthan, 19 th century
19 A pair of gold earpendants set with
rubies an emerald and a rim of pearls
North India, ca 20 th century
22

21 A Balewara, a traditional
gold necklace, decorated with a centre piece
set with diamonds, emeralds and rubies
India, Rajasthan, Bikaner
19 th century
23
22 Braghar ear pendants
Traditional gold earrings with glass and
mother of pearl beads in the centre,
a gold drop with green German glass is
suspended.
India, Himachal Pradesh,
early 20 th century

23 A gold hemispherical head ornament, with a suspended fringe of triangular pendants
in a spreading network. The whole is set in kundan technique with cabochon rubies,
emeralds, table cut diamonds and suspended Basra pearls. This headornament was worn on
the side of the head, the fringe hanging down over the forehead. Ornaments like these are
part of the jewellery traditionally worn by Muslimbrides.
India, Rajasthan, 19 th century
25

24 A gold traditional necklace
India Rajasthan 20 th century
26

26 A pair of gold Bhungi,
earornaments,are worn in the helix by
men and boys of all ages. The decoration
of the plate is composed of concentrically
soldered on filigree, granules and platelets
India, Gujarath, ca 1940
Lit ref Bala Krishnan,
Dance of the Peacock, ill 260
Cutsem, Welt der Ohrringe, ill. P.119, 124
Frater, Threads of Identity ill.121,123
Jain-Neubauer, Chandrika ill. P.27
25 A pair of traditional wedding earrings by Rabari
woman. Lit ref earrings Earrings p73
India, Ogania, Gujarath, ca second part of 20th century
27

27 A necklace consisting of 7 gold
arrowshape pendants, decorated with
a floral pattern in traditional Gujarath
workmanship
India, Gujarath, late 19 th century,
106.73 grams
28

28 A pair of traditional gold
ear pendants with suspended gold
leaves
South India, Tamil Nadu
first quarter 20 th century
29 A gold traditional necklace
India Maharastrha 20 th century
29

30
30 A gold bangle
India, Gujarath, 20 th century

31 A plain gold necklace
India, Gujarath, early 20 th century
31
32 A pair of gold earpendants, Pandadi,
are worn in the middle or upper ear by
older girls before marriage. Square gold
Pandadi were specific ear ornaments of
Dhebaria Rabari Nomad Tribes in Kutch
India, Gujarath, first part of 20 th century

33 A plain gold coin necklace a Kasu
Malai (necklace of coins) The coins are
inscripted on either sides. Front is gold
Mahalaskmi Madras. Reverse is 22ct
India, 1910. The use of coins in jewellery
constituted a form of savings and a
display of wealth 136.32 gr
India, Madras, 1910
32

34 22k gold necklace decorated with
enamelled finials and a centre pendant,
depicting Rama and Sita with the
monkey god Hanuma. Ram or Rama
is the seventh appearance of Vishnu.
His consort is Sita. In this shape he
descended to earth to save the world
from the oppression of Ravana, the
ten-headed king of demons. This story
is told in the epic poem the Ramayana.
They are the main characters.
Rajasthan, Bikaner 19 th century

35 A gold enamelled bajuband set with white saphires
The tradition of wearing Bazubands was inherited by the Mughals from
their ancestors, the Timurids. The word bazu band is derived from Bazu,
meaning arm and Band, meaning closers, and is worn on the upper arm. The
most traditional form of the Bazuband was composed of a large stone of
exceedingly high quality, for example an emerald, which, in the days of the
Mughals, came from Colombia via the Portuguese and flanked by two pearls.
They became more ornate through the centuries and were another form of
displaying the finest gems, particularly when a number were worn together.
It was symbolic of aristocracy, masculinity and their role as conquerors, but
the practice of wearing Bazu bands began as an amulet to guard the wearer
from his enemies in battle. They were usually composed of stones which had
been astrologically chosen to ward off certain malefic effects, but as the
years wore on they took on a more decorative role and became an important
accessory to the king. They became more significant during the provincial
rule, when all the Maharajas and Nawabs wore them to indetify their role.
North India, 19 th century
36

36 A pair of 20k gold child bangles with
Makara heads (mythical seacreatur).
Inlaid with diamonds, the eyes inlaid
with rubies, enamelled in the traditional
Champleve technique with a scroll of red
flowers and the green leaves on a white
ground with red and green parrots. The
child bangles in such good condition are
very rare. The bangles were probably
made for Rajput nobles.
India, Rajasthan, Jaipur, 19 th century
37

38
37 A 20 ct gold necklace
consisting of seven pendants
(Latkan) on a finely worked
chain. All pendants are decorated
with multicoloured enamel, and
are fringed with pearls and blue
glass beads. Five pendants have
the form of an arrowhead
India, Rajasthan, Navthdvara,
19 th century

The middle pendant depicts the name
of Shrinathji, an incarnation of the
Hindu god Vishnu, on one side. The
script is in Devanagari characters
Vishnu is one of the three gods in the
great Hindu trinity. The other gods
are Shiva and Brahma. Shiva is the
destroyer, Brahma represents creation
and Vishnu is the preserver. The name
‘Shrinathji’ is reserved in gold against a
red background, the whole symbolising
a flowering Lotus, surrounded by red
flowers and green leaves, and a bird
on either side. To the left and right are
three pendants, each decorated with
birds perching on a flowering
tree.
On the reverse, the Vishnupada, or
feet of Vishnu, are shown, within a
white circle with a green rim on a blue
ground, representing the primordial
waters.
The feet are adorned with symbols
such as the axe, and the fish, objects
that are connected with episodes in the
mythology of Vishnu.
40
This necklace was worn by pilgrims to
the shrine of Shrinathji.
Illustrating Vishnu’s footprints with
objects connected to him is traditional
in Hindu iconography. Pictures of his
footprints are no less revered than
other painted and sculptured images of
Vishnu.
Showing reverence to the feet of a
deity, and elder, a holy man, or someone
of higher status is common practice
in India. An amulet with the feet of
Vishnu around the neck keeps the god
close to the heart and identifies the
wearer as a Vaishnavite, follower

of Vishnu, and in the particular
example as a Shrinathji pilgrim, a
member of the Vallabhacharya sect. A
song in praise of Vishu’s feet concludes:
“This very sacred Pada (Vishnu’s feet)
has bestowed on the lives of many great
saints a place of sublimity”.
The form of an arrowhead had had
great symbolic meaning since ancient
times. The stone arrowhead spearheads
and axes were among man’s earliest
lethal weapons. The power to end a life
was highly respected by the ancients,
and the instruments themselves were
regarded as magical. Even the mere
form of the arrowhead was believed
to possess the power to destroy the
evil spirits. To obtain this protection, a
pendant in the form of an arrowhead
was worn around the neck. Eventually,
the simple arrowhead evolved into a
more stylised and embellished form,
although the decorations should
reinforce the amulet’s auspicious power.
41
Seven is, as is nine, a very auspicious
number for Hindus. Hindu cosmology
conceives of the universe as containing
seven planets and two personifications
of the moon cycle, all designated as
celestial deities. The seven planets
correspond with seven Hindu gods and
the seven days of the week. The white
light from the sun is a combination of
seven colours of the spectrum. Each
planet sends of one colour.
It is believed that the sunlight, so as
such each of the seven cosmic colours,
have a special effect on every living
creature on earth.

38 A pair of domeshape earpendants set with
rubies and suspended pearls
India, Rajasthan second part of 20 th century
39 A pearl and ruby necklace consisting
of suspended gold heartshape pendants
each set with diamonds and decorated
with safed chalwan enamelwork
North India, 20 th century
42

40 Sarphatti (Hindi) (turban ornament)
A turban ornament consisting of a gold, openwork plaque set with diamonds
and rubies. On either side is a gold, openwork triangular element, likewise
set with diamonds and rubies – all in the kundan technique. The whole is
decorated with suspended spinel drops and at both ends are fine strands of
red glass beads. The reverse is entirely decorated with Safed Chalwan enamel.
India, Rajasthan, Jaipur, ca 1880
43

44
41 A pair of gold traditional Jumkah
ear pendants set with diamonds and
suspended emeralds, pearls and glass
beads. The reverse is decorated with
multi coloured enamel.
North India, 19 th century

42 A pair of gold ear pendants set with
diamonds and natural emeralds from
Colombia.
Approximate weight estimates on the
various items are 2 round emeralds: total
weight approximately 1.2 carats
2 pear shaped emeralds: respectively 11
and 14 carats (rough estimates due shape)
48 rose-cute diamonds:
total weight approximately 3 carat
Lab tested by Netherlands Gemmological
Laboratory Ltd. Leiden, Holland
45

Designs and symbols on traditional Indian Jewellery
Enamelling
The most reputed af all the centres of
enamelling in India is Jaipur. The enamellers
of Jaipur have reached such perfection in
this craft that they remain unsurpassed
throughout the length and breadth of the
country. Jaipur – and to some extent Alwar
- had the distinction of being the best
known centres for enamelling during the
eighteenth and ninetheenth century, the
craftsmen traditionally being thought to
have come from Lahore. Enamelling was
initated in Jaipur during the reign of Sawai
Man Singh I.
Handcrafted Indian enamel jewellery Rita
Devi Sharma M. Varadarajan p25
Kundan
Kundan is probably the oldest form of jewel
crafting in India. Small pieces of pure gold
are hammered into paper-thin sheets and
encased around the gems to hald them in
place. The state of its origin is Rajasthan,
where the main centres for kundan work are
Jaipur and Bikaner
Handcrafted Indian enamel jewellery Rita
Devi Sharma M. Varadarajan p30
Arrowhead
The form of an arrowhead has had a great
symbolic meaning since ancient times.
Stone arrowheads spearheads and axes
were among man’s earliest lethal and the
instruments themselves were regarded as
magical. Even the form of the arrowhead
was believed to possess the power to
destroy the evil world. To obtain this
protection a pendant in the form of an
arrowhead was worn around the neck.
Eventually, the simple arrowhead evolved
into a more stylised and embellished form,
although the decorations should reinforce
the amulet’s auspicious power.
Mango
Mango, the luscious juicy fruit growing
abundantly all over India, is the most
popular motif in almost all craft objects,
including jewellery.
The popular story often narrated avers that
God in one of his creative provocations
extracted the juice from a mango tree
as paint and drew the fi gure of a woman
who looked so beautiful that put even the
apsaras (celestial nymphs) to shame.
Conch Shell
The conch shell, obtained from river or
sea-beds is considered one of the most
auspicious objects used during rituals in
Hindu temples.
Hindus believe that the sound of the conch
shell is holy and will ward off misfortunes. In
Hindu families, all religious and auspicious
functions start after the conch shell is blown.
During ancient times, the blowing of the
conch shell was the announcement of war,
heralding battles to come.
Birds and Animals
Only those birds and animals that
have sacred associations are, and
can be, used on Indian jewellery and
other crafts forms.
Peacock
Among birds, the peacock is the most
important, not only because of its beauty,
elegance, colourful body and features, but
because it is the VAHANA (mount) of Shiva
and Paravati’s second son Skanda also
known as Kumara or Karttikeya.
The peacock is admired all over India.
43 A ring set with a table cut diamond mounted in a pacchi settin.
Pacchi jewellery setting
Silver is shaped into a round wire which is then flattened. The flat wire is piereced
with a groove followed by a gold polish into vairous shapes.
46

Hamsa or Goose
Is associated with Brahma, the Creator of
the Universe. This bird inspired the Indian
artists over the centuries especially in Tamil
Nadu.
Elephant
Is associated with Indra, lord of the celestial
world, whose mount is the white elephant
Airavat.
Elephants also fl ank entrances to most royal
palaces.
Nandi
The sacred bull Vahana(mount) of lord
Shiva, is the symbol of his lord’s divine
nature.
The Nandi is often shown in a sitting posture
at the entrance of Shiva temples.
Makara
A mythical animal and the Vahana(mount)
of the sacred river goddess Ganga.
Basra Pearls
Throughout the history of Indian Jewellery,
no gem has been prolifi cally used as the
pearl. For many centuries the best quality
pearls were found in the Persian Gulf.
Until the 16 th century the pearl trade was
dominated by the Arabs and Persians
but, after the Portugese colonisation, the
Portugese took over the trade.
Pearls formed an important asset of their
Far East Trade.
After the Arabs regained control over
the area, they also took over the trade
monopoly and this was in fact fi nanced by
the Indians.
The pearls came to shore at the harbour
city of Basra, hence the name ‘Basra Pearls’.
The pearls were send to the Persian city of
Hormuz where the trade took place. From
here the pearls were shipped to Mumbai,
where the Indian trade took place.
From there Mumbai the pearls were
distributed all over the country and were
even sent overseas to the West.
Unfortunately, through extensive fi shing
and pollution, there are no longer pearls
to be found in the Persian Gulf. The Basra
Pearl trade ended in the late nineteenth
century.
47
44 A gold ring, set with diamond
and emerald
North India, 20 th century

48
Literary reference
• Indian Jewellery
Thomas Holbein Hendley
• Mughal Jewels
Monin Latif
• Traditional Jewellery
Uppi Untracht
• Jewellery of India
Francis Brunel
• Arts & Crafts of Tamil Nadu
Nanditha Krishna
• Splendours of Kerala
Marg publications
Oude Dieze 15
5211 KT ’s Hertogenbosch
The Netherlands
T +31 (0)6 53 88 35 60
E info@vangelderjewellery.com
I www.vangelderjewellery.com
Design & printing BibloVanGerwen
Photography Ton van der Vorst
Text Bernadette van Gelder
Noëlle Viguurs-van Gelder

www.vangelderjewellery.com