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LIFESTYLES
Eternal India
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contemplative ideal expressed in
the other heads. This is in
keeping
with
the
controlled
character of the sculpture at
Elephanta.
The expression of medieval
temple architecture in India ex-
tensively owe to the softer stone
bringing to use while compare to
the harder stone used in early
Indian structures. The use of
softer stone in the application of
structural temples at the length
and breadth on the Indian soil
evoked sharper, and crisper carv-
ings in the form of architectural embelishment and increased num-
ber in sculptures both divine and secular types. The temples built in
times of Paramaras, Chandellas, Pala, Senas, Kalyana Chalukyas,
Kalachuris, Hoysalas and other minor dynaties produce sculptures
rich in detail in away retain the characteristics of sculpture rather
than architecture. The highly polished smooth surface has brought
sharp contrast and refinement while adoring the sculpture often
provide guidelines in identifying the styles of sculptures mush-,
rooming during medieval times. Profusely jewelled figures of Devi
and Vishnu characterises the Sena, Kalyana Chalukyan and Hoys-
ala styles.
The Hoysala period reached its zenith in the art of jewellery.
The type of concentration on ornamentation has made the Hoysala
sculptures look more distinguished from other schools of sculp-
tures, nevertheless the jewellery is the prerequisite decoration of
the sculptures of this period. The gold smiths of this age created
wonders in metal and they are aptly reflected on the stone sculp-
tures of those days. Could it be possible for any one to count the
varieties of garlands, necklaces, bands, bangles, ear rings, arm or-
naments, shoulder ornaments, anklets, girdles and
Brahmasutras
on the sculptures of Hoysala temples? Can we under estimate the
art of jewellery which is the symbol of aesthetic standards of
society? The ability of creating thousands of patterns, adoptation
of different types of materials in
making jewels was the special-
ity of Hoysala period. The art of
jewellery reached high level in
this period and was brought to a
very high artistic standard of re-
finement and elegance which
was in keeping with the spirit of
the age.
The foreign travellers have
left behind them description of
jewels worn by the dancing girls
in Vijayanagar period. Abdur
______ _____________________ Razak opines that these dancing
girls were wealthy for each of these women was bedecked with
pearls and gems of great value and was dressed in costly ornament.
Domingo Paes was also astonished to see the women wearing the
ornaments and walking into the streets of the city of Vijayanagar.
"Who can fitly describe to you the great riches these women carry
on their persons? Callors of gold with many diamonds, rubies,
pearls, bracelets on their arms and upper arms, girdles below and of
necessity anklets on their feet?" The art of jewellery continued to
catch the attention of post-Vijayanagar sculpting, lacking in variety
and novelty in their execution. What was lacking in sculptural rep-
resentation of jewellery was well compensated in the actual pieces
of jewellery made of gold and precious stones in late medieval
times. They have become the prized collections in many of the mu-
seums all over the world and temple collections with sacred and
ritualistic significance.
The age of imperial Mughals witnessed the combined natural-
ism of Buddhist, Hindu and Islamic traditions into an aesthetic
awareness. In the royal workshops important developments of
greater dimensions took place. The Mughal and provincial Mughal
styles are characterised by jewelled artefacts throw light on the
splendours of the life of royals. The Mughal craftsmen absorbed
the influences and blended them suitable to the refine taste of
Mughals and later the colonial India. The jewellery exhibit exten-
sive filigree work and jewelled artefacts are made adopting various
techniques such as granulation, enamelling and inlaying. Later
these techniques in the modifications are well-spread throughout
India upto contemporary times.
Temple Jewellery and Traditional Jewellery
The jewellery in India under the present circumstances could be
brought under the categories like Temple jewellery, traditional jew-
ellery, royal jewellery and contemporary jewellery. The marked
differences could be associated with the purpose, setting, use of
precious stones, designs and symbolism. They are preserved in
temple treasuries, royal families, some aristorcrat families as hier-
archical possession, museums and the jewellers.
When all these materials are put to a closer study and analysis
it is very clear that our jewellers from earliest times exhibit vivid
charm and excellent workmanship of jewels worn through the
centuries by gods, royals and commoners. Some of the temples are
repositories of the varied styles of jewellery and they are well-pre-
served and used ocassionally even today. The temple jewellery no
doubt look at the patterns and designs owing to their appearance on