Eternal India Encyclopedia

Eternal India

encyclopedia

LIFESTYLES

temple sculptures in a limited sense. Since the jewels are studded

with choicest diamonds, rubies, emeralds and pearls, they go very

well with the decoration of the deity. The principle deity in the

sancto-sanctum is always decorated with brass, silver or golden

masks with few pieces of jewellery. Often due to security reasons

not much of the jewellery is used in the temples today. Some of the

items given as votive offerings by the disciples are in regular use in

the temples. But the jewellery of datable, symbolic, ritualistic,

elaborate artistic settings are deposited either in the temple or

Government Treasury. They are brought to the temple and used in

decorating the principle and processional deities on annual festival

of the temple.

• The concept of anything that is holy, sacred, highly-priced and

symbolic manifestations are treated with divine feelings and at-

tributed to the temple. Thus temples received large grants from

royal families and aristrocrats. Often the jewels with ritualistic

prescriptions are specially made for the requirement of respective

temple. Since the main deity is not allowed to go on procession due

to religious prescriptions, in the processions and festivities to

compensate the rituals, the bronze figurines are used in the

temples. Due to the Bhakti movement, the devotional services in

temples occupied an increasingly important place in all rituals. The

royals and aristocrats to mark the various events in their lives

donated valuable jewels sometimes even their personal orna-

ments. But many rare specimen found in the temples are made to

order for the ritualistic purposes. Great variety of necklaces,

crowns for celebrating the events, head jewels, bracelets, massive

pendents with temple insignia, belts of fine workmanship, cradle,

objects while using for ritual bath, the moulded foot in gold and

silver, the Bilvamala, Tulasimala, Rudrakshimala, garland of

skulls, necklaces made of coins, pearls and nine varieties of gems

all fall under the category of temple jewellery.

India from time immemorial provide references of trading in

nine-gems the Navarathnas. The significance of rotine offering of

the jewel made of nine gems viz.

vajra

(diamond),

vaidurya

(cat’s

eye),

manikya

(ruby),

pache

(emerald),

neela

(sapphire),

Pushyar-

aga

(topaz),

gomeda

(lessonite garnet),

pavala

(coral) and

mouktika

(pearl), is highly sanctified when they are offered to the

temples. These nine gems are treated religiously and ritualistically

as regenuated pure forms in the three worlds. These nine gems are

to be worn by the kings and these gems never become untouchable

or impure. They remove sins in their lives. As a result the person

who wears always bent upon functioning with good deeds. The

nine gems bestows longevity, health, good children and wealth and

assured happiness and at the end will liberalise himself from the

cycle of birth and death and attain salvation. With this philosophy

the jewels made of nine gems were offered to temples and also

worn by men and women after going through the process of relig-

ious sanction. The temple jewellery is unique in appeal as it is

defined in the first instance and most of the times un-cut diamonds,

rubies and pearls were used. The designs suited so well studded

with unpolished precious stones with closed-setting techniques

filling with foils and lacs, when the images are decked with this

classic jewellery, wreathed with flowers, lighted oil lamps, sub-

dued effect of low light when the lamps are waved before the

images, create a soul searching feeling in the devotees. The temple

jewellery have highly estimated value and portray the philosophical

merits of Indian jewellery heritage and they should be preserved at

any cost.

Some of the families passess the traditional jewellery worn by

the members, since few generations. They also exhibit the tech-

nique or setting and the un-cut precious stones embedded in gold

and silver are with traditional patterns in an elaborate manner.

These pieces of jewellery are usually passed on from mother to the

daughter and mother-in-law to the daughter-in-law. Many con-

temporary jewellers of merit are experimenting on the revival of

Indian traditional jewellery, which remain fascinating for ages to

come.

The contemporary jewellery in India while comparing to the

western world lag behind in variety, application of metal, quality

and innovation. The costume jewellery of western approach make

use of all the materials suitable to the taste and decor. The Indian

traditional designs provide limited scope for the use or semi-

precious stones and the precious stones are beyond everyone’s

reach. As there are no adequate tracing and research activities in

the contemporary jewellery, this area although rich in heritage lack

in the application of designs and ideas to the contemporary taste.

The art of jewellery has to receive a proper attention to make it

more a living tradition in the contemporary sense.

Sita is represented as arrayed for her marriage with Rama in

a light sari-like garment of a rosy red colour embroidered with

gold, and with jewelled butterflies and other bright ornaments

in her raven black hair. Her ears are resplendent with gems,

she has bracelets and armlets on her arms and wrists, a

golden zone binds her slender waist, and golden anklets her

ankles. She has jewelled rings on her fingers, and golden

bells on her toes, that tinkle as she walks with naked feet

over the carpeted floor.

SELECTED REFERENCES

Golden Treasury

by Susan Stronge, Nina Smith and J.C. Harley

P.12

Dance & Music

in the Temple Architecture — Dr. Choodamani

Nandagopal.

Vijayanagar Art

— R.N. Saletore.

Cultural Heritage of India

- Vol-I.

(C N)