Cu 3482
Cu 3482
Cu 3482
N.
http://www.archive.org/details/cu31924016265682
XWELLERY FROM PAKISTAN
Contents
Section 1
"^^rA u
Foreword
The book "Jewellery from Pakistan" can be even for work and in cities chiefly on social
taken as a volume containing select samples occasions and weddings. From a child's simple
from a vast treasu re that the country possesses. joy in a brightly coloured bauble to a more
Published by the Export Promotion Bureau sophisticated pleasure in a thing of beauty and
under book programme it gives the reader a
its appreciation of the skill which goes into its
historicalbackground to the land and the people manufacture the range of Pakistani jewellery
who produce these finely crafted masterpieces satisfies them all. Each bangle, earring or anklet
of precious metals and gems. It also attempts to is a mute token to the centuries of tradition,
answer the buyers questions on the inspiration technique and imagination fired into a positive,
for the jewellery. glowing tribute
Going back to the twilight of antiquity man's For those unfamiliar with our past, our
prime need to survive, clothe and feed himself cultural heritage and deep rooted foundations
was followed by his desire to bedeck his person. of artistry this book is an offering with the hope
—
From basic materials readily at hand bone, that every piece of Pakistani jewellery will
shells and stones, man moved on to bronze and henceforward hold for its viewer a newer, richer
copper, gold, silver and gems. The pre-lslamic
meaning.
heritage, the confluence of cultures in this land
which has known fifty-five centuries of
civilization, has evolved a tradition of design
rich and varied.
HamidD. Habib
The immense range and impeccable quality Minister of State
of Pakistani jewellery is acknowledged in for Export Promotion.
international markets amongst the most
discerning of connoisseurs. The local jeweller
maintains a tradition of deftness and inventive
craftsmanship. The rhythm of Oriental design,
the inequable symmetry and perfection of
Islam's aesthetic concepts is transformed into
pieces which are unmistakably typical yet
refreshingly contemporary. The jeweller
craftsman is flexible to adapt from the West
those elements which befit the demands of his
heritage, those which can enrich and widen his
repertoire and make the finished product a
highly prized work of art.
The origin of Man's involvement witii self- palaces, inthe magnificence of the jewels they
adornment is buried deep in antiquity. No wore and inthe gifts they exchanged with each
matter how far back we go, we find
even the other. Even men wielding great power and
Stone and Bronze Age
civilizations of the commanding fabulous fortunes have been
making a conscious effort towards known to wear jewellery and gems to ward off
beautification. To satisfy his basic desire to evil spirits and protect themselves from
bedeck his person, primitive man utilized the catastrophies. Taiismanic jewellery dates back
materials available in his environment. Feathers to prehistoric times, such as the scarab ring of
of exotic birds, dried grasses, curly vines, seeds the ancient Mesopotamians which was meant
of fruit and flowers, bones and ivory, shells and to offer the wearer immunity against adversity.
pebbles and ornaments of clay, all formed his Amongst the Muslims the flesh-coloured
jewellery. carnelian is considered lucky. The Holy Prophet
(Peace Be Upon Him) is said to have worn this
With the discovery of precious metals and
stone set in silver on the little finger of his right
stones, man was impelled to use them to adorn
hand. An amulet or a hollow pendant containing
himself. To craft these newfound metals, he
the words of a prayer, embossed or intricately
developed intricate and versatile tools and
worked, in silver or gold, is worn around the
learnt to create complex design forms, deriving
neck by Muslims.
motifs from natural objects he had been using
for centuries. We
find images of animals and Pakistan's relationship with its neighbours
Gold earring with flower and birds, leaves and flowers, of symbols of has always been unique in that they have played
fish motifs worship, and complex geometrical patterns an integral role in the development of its culture
repeated on ornaments. by exposing its people to the action of foreign
ideas, from the ancient past to the present.
Since time immemorial jewellery has been
There were three ways in which this interchange
regarded as a statu&symbol of wealth and a
means of displaying power. Kings and was accomplished: trade, invasion and religion.
noblemen. Sultans and Caliphs have vied with Long before the dawn of history, inhabitants
each other in the construction and decoration of of the land now called Pakistan marketed their
wares by land routes, caravans, riverways and
probably by sea. Rome had trade connections
with Asia and the taste for rich dress and
ornaments was imported from the
Subcontinent by Greece and Rome. Artisans
and craftsmen in the East and the West were
keenly aware of the quality and variety of
products entering their boundaries. Ctesias (a
Greek physician at the court of the Persian king
Artaxerxes) tells us that the stones of which the
Babylonians made seals came from the
Subcontinent.
The Subcontinent was legendary for its
great treasures and attracted many invasions.
Greek writers like Herodotus, the father of
history, travellers like Skylax an admiral in the
Silver amulet fleet of Darius of Persia, and Megasthenes, the
Left:
Silver bracelet with animal
head finials
Below:
Nadir Shah of Persia
10
West before the Macedonian period. The vogue
in gem
studded jewellery reached its height in
the 1st century AD and was a result of the
Parthian occupation. Itwas of two kinds. In one,
the gem or paste was enclosed in small
compartments or cloisons. This is an early
example of /rt//7c/a/7, a similar technique which
reached its height during the Moghul period.
Alternately, box settings were used. Stones
found in the jewellery of that period include
lapis-lazuli, malachite, rock crystal, garnets,
carnelian and chert.
White Huns overran the country in 455 AD.
With this invasion cametheendof Taxila. In the
7th century AD there was no longer any
evidence of the bustling trade centre, only the
university remained, reported the Chinese
traveller Hsuan Tsang.
Top left:
The Chinese traveller Hsuan Tsang
Left:
Amphora type earring bearing
dolphins and inlaid with turquoise
Top right:
Gold necklace, 31 pieces, of two
alternating patterns, ornamented with
granulation and cloisonne
11
The Muslim Period
17
Ghazni. Accounts have been written describing
the treasures from the temples "jewels and
unbared pearls and rubies shining like sparks or
like wine congealed with ice and emeralds like
fresh sprigs of myrtle and diamonds in size and
weight like pomegranates".
The jewellery ofthe Sultanate period has not
survived but the wealth of these Turkish kings
was legendary and we may safely assume that
their garments woven with gold and silver
threads, and the ornaments ofthe time more
than adequately competed with the pomp and
splendour of court life.
inscriptions in tiie Kufic script. IVIultan was a The strength ofthe Turkish kings wavered as
temples and idols, where
tiiriving city of rich new hordes of Muslim conquerors swept down
pilgrims from the Subcontinent came with rich the northern passes. Timur (or Tamerlane)
offerings for its golden idol with eyes of red conquered Persia, Russia and Hungary,
rubies. After a two month seige the city fell to reaching the banks ofthe Indus in 1398,
the Arabs and a great treasure was found pillaging Multan and Lahore, and ransacking
beneath the idol weighing a total of 1302 Delhi. The city was in flames, common soldiers
maunds (a maund equals 37.32 kilos). were laden with jewellery, which was easy to
loot because even the poor women wore their
The Arab conquest of Sind did not result in ornaments daily; thousands of prisoners were
an Islamic supremacy but it did open the Indus assembled outside the city and the craftsmen
Valley once more to the influence of the fast
among them handed over to Timur. It was
rising IVluslim power which later on was to
Timur's policy that after capturing any famous
change and affect the arts of the Subcontinent.
city he sent the skilled artisans back to
Muslim art became an integral part of the Samarkhand to decorate his capital. The Indian
Subcontinent with the coming of the Turks, the craftsmen arrived at the capital and were set to
Afghans and the Persians through the northern work on the Persian designs, becoming a part of
passes. These conquerors, belonging to distinct a community which already included painters.
cultural groups, brought with them the main
artistic trends of their areas and in the course of
time, with an atmosphere of mutual
appreciation and toleration, the artisans worked
in close cooperation with their new masters, to
culminate, during the reign of the Moghuls, in
the period of the greatest splendour of Muslim
India. The Ghaznavid Turks from Central Asia
first entered the region in the 10th century AD. Top left:
Sultan Mahmood of Ghazni made sixten sorties Gold pitcher with animals, birds, leaf
scrolland calligraphic motifs
into the area around the Punjab, gathering not
onlygold,gemsandjewels, but also taking back Right:
Wall panel of Floral design
artisans to work and illuminate his court at Lahore Fort
13
Mumtaz Mahal and Emperor Jehangir
architects, silk weavers, glass blowers, silver- and ornaments were often given as presents.
smiths and calligraphers, from the most The Emperors celebrated their birthdays, both
renowned centres of the arts in Europe. Gur lunar and solar, by holding a grand feast, the
Emir, Timur's mausoleum in Samarkhand was highlight of which was the weighing of the
embellished by Indian craftsmen sent there as king's person against gold and silver. Nur Jehan
slaves after the sack of Delhi. presented her husband, Jehangir, with gifts on
his solar birthday weighing on the 2nd of
Accountstogetherwith paintings of thetime
September, 1621.
give us an indication that the wearing of
ornaments was popular amongst both men and "At the end of the entertainment the
women, gems and jewels played a leading role offerings she (Nur Jehan) had prepared for
in the pomp and splendour of the Timurid me were produced. Of the jewels, jewelled
courts. Timur himself ordered that a warrior ornaments, clothes and various rarities
who distinguished himself with the sword I selected what I approved".
should be rewarded by a jewelled aigrette
adorned with heron plumes. She is said to have evolved and popularized
Timur's descendant Babur established many new patterns and forms in ornaments.
Moghul rule, conquering the Subcontinent at
Jehangir has been described by Edward
the beginning of the 16th century. Babur
Terry, a clergyman, in his book "A Voyage to
declared himself Emperor by having the Khutba
India" as "the greatest and richest master of
(Friday's midday sermon) read in his name in a
precious stones that inhabits the whole world"
Delhi mosque. At this time the famous diamond,
Shah Jehan was fascinated by jewels and
the Kohinoor, made its first appearance in reputed to be the largest collector in the Muslim
history. was presented to Babur on reaching
It
period. It was reported that it would take an
Agra by his son Humayun. Babur says
expert fourteen years to go through and value
"Humayun offered it to me wtien I arrived at all the Emperor's personal jewels. He was
Agra and l/ust gave it bac/(..." He ca\cu\aXedthat
considered a connoisseur of precious stones
its value would provide food for two and a half
and was able to give an accurate judgement on
days to the whole world. On
the quality of a particular item. his accession
All the Moghul emperors from Babur to he commissioned Sa-ida-i-Gilani to design the
Shah Jehan were especially fond of precious famous Peacock Throne, surmounted by a
metals, precious stones and golden ornaments canopy held up by twelve emerald pillars, at the
with niello and enamelled decorations. Arms top of which were two peacocks on either side of
14
Bottom left:
a tree set with rubies, diamonds, emeralds and The Moghuls also evolved new shapes Enamelled bracelet with elephant head
pearls. based on old patterns, the crescent and the star finials. Late 19th cent.
of the indigenous influence of the Rajputs and and pendants. The karan phool jhumka (earring
the Persian influence of the Muslims. The pendant) is a combination of a flower and a bell.
Moghul rulers did not destroy the prevailing The wearing of nine coloured stones
forms but incorporated them in their own
patterns. Akbar, realizing that the empire of
nauratan —was traditionally supposed to
protect the wearer from evil influences, and an
Babur and Humayun would only stand on the adaptation of a centuries old tradition. The
basis of complete toleration, gave the Rajput gems commonly used were zircon, cats eye,
princes high offices, and encouraged inter- sapphire, diamond, ruby, pearl, coral, emerald
communal marriages. The mothers of both and topaz. The indigenous tradition of wearing
Jehangir and Shah Jehan were Rajput fresh flowers in the ears and around the wrists
princesses. Under such conditions, mutual and neck influenced the Moghuls to name their
levelling influences were inevitable. The ornaments after flowers, for example the
Moghuls used the indigenous forms which had necklace called a champa kali (or bud of the
been worn for centuries, and evolved new Champa flower) and the earrings known as
shapes based on old patterns. But the karan phool (flower for the ear).
embellishment techniques, motifs and designs
for the ornaments surface were greatly With the death of Aurangzeb in 1707 AD, the
influenced by their mastery of the craft. The art Empire began to disintegrate, twilight gradually
—
of enamelling minakari and encrustation setting on the once bright and glittering Moghul
—
kundan reached perfection during their rule. court. The growing weakness of the dynasty is
Bracelets with elephant and tiger head finials, evident in the ease with which Nadir Shah, the
earrings of enamelled fish and peacocks are Persian ruler, entered and pillaged Delhi in 1739.
evidence of the craftsman's skill. He took away with him tons of gold, precious
stones and a prodigious amount of minor
—
jewels and the fabled Peacock Throne. The
now destitute Emperor could no longer
patronise the goldsmiths and artisans who
migrated to receive the protection and
recognition of the smaller principalities, whose
courts resuitantly became famed for their
wealth and splendour.
Although the Moghul ornamentational
technique flourished, reached its zenith and
declined, its impact on contemporary jewellery
is prevalent even today. The floral and abstract
motifs, the use of calligraphy and the vogue for
incrustation is very much evident in
contemporary ornaments.
15
TheSunar
Since the discovery of precious metals and envied, much sought after and often paid bribes
the development of metalwork techniques the toencourage him to change masters. With such
sunar or goldsmith has played a leading role in patronage and recognition he worked with
the development of ornamental forms. With the loving care and great devotion, excelling in his
discovery of gold and the realization of its chosen technique and producing marvels of
Crucible tongs
Mallet
potential properties, the goldsmith was able to manual skill and aesthetic taste.
Chasing tool give free reign to his skill and imagination to
Saw frame The craft of the goldsmith reached its zenith
produce ornaments which are our rich heritage.
Shears during the Moghul period. Akbar did his utmost
Anvil In the Subcontinent the sunar has always been
6.
to attract the best artisans from all parts of the
7. Doming punch amongst the corps a^'e/Zte of artisans, patronized
world and had his goldsmith shops outside the
8. Ring stick
by emperors and a wealthy aristocracy to whom
9. Plier palace walls, which he regularly visited,
10. Draw plate money meant nothing and the aesthetics and inspecting each ornament personally and
11. Chasing tool skill everything. He was an essential part of the
12. Doming block rewarding the artisans.
13. Scribe
palace entourage and kept constantly busy,
14. Crucible being respected and renowned for his skill. Jean Baptist Tavernier, the famous gem
merchant from France, made five journeys to
India during the reigns of Shah Jehan and
Aurangzeb and was shown the royal collection
by Aurangzeb. Jehangir, in his memoirs,
mentions an European goldsmith whom he
calls 'Hunarmand' (skWM) who presented him
with a throne of gold and silver, the supports of
which were in the form of tigers, completed in
threeyears. Jehangir says of him.... 'iv/7o/7ac//70
rival in the arts of a goldsmithi and a jeweller'.
Western designs were inevitably copied by
Indian artisans, producing jewellery with a
singular blend of the East and the West.
The sunar inherits the skill and the methods
by the direct descent of an immemorial tradition
which has survived through centuries. The craft
is handed down from fatherto son. The learning
16
visit iiim to place orders and provide tiie gold Flowers and leaves in sadakari
17
Top left: Enamelling, and Inlay Minakari
Thappa in gold
Enamelling a branch of the art of
is
Top middle:
Silver filigree vitrification, a of painting on metals
method
Below right: with mineral oxides in such a manner that the
Blacic enamel on silver colours adhere to the surface. There are three
forms of enamelling in practice today. One in
which the colours are applied like paint on the
ornaments' surface. Secondly, the champleve
method where the design is engraved out of the
metal and colours placed in depressions
hollowed out to receive them. Thirdly, the
cloisonne method, a very ancient form of
Thappa encrustation known in the Subcontinent as
18
Far left:
19
Towards Today
a hoary past.
abandoned and the trend of cut stones came
into vogue. The Muslim impact on ornamental
techniques radiated from the court at Delhi to all
By the end of the 19th century the major towns whose elite came under its
industrialisation and easier communication
sway. Thus the modern urban women's
created a mobile society. Women
came out of jewellery is still very much a part of the Moghul
their homes to work and take part in politics.
inheritance.
They no longer felt at ease in heavy, elaborate
Today, these two trends run parallel,
ornaments. To conform to this new way of life
Top: complementing each other. From the heavy,
Painted portrait of a lady jewellery patterns and designs underwent a
Early 20th cent. elaborate silver jewellery, the mobile urban
change.
Above:
woman has adopted ornaments which are bold
Gold brooch of western design A general streamlining and simplification in conception and of simple design. The
20
p
Top left:
Above;
Lool<ing ahead
21
Gems
When early man picked up a pebble red, brown, white and black. The rich olive green
rubbed shiny by the sea and carried it around isthe most sought after. Jade has a very sound
with hinn, he looked at it with the same wonder structure with intertwining crystals and is ideal
and pleasure we feel when we hold a gem up to for carving.
the light to enjoy its lustre and colour. Gems Fluorite isfound in Chitral, Dir, Hazara and
have been collected and treasured throughout Baluchistan, with the largest deposits occuring
the ages, have been worn as decoration, as in the northern part of the Koh-i-Maran Range in
symbols of might and riches, ascribed Kalat. It occurs in discontinuous veins in nearly
supernatural powers, looked upon for victory in all types of rocks as cleavable, granular and
battle and worn to protect one's person against fibrous masses. The most common colours are
adversity. green, yellow and blue, but it is also found in
Lapis lazuli with golden flecks of pyrite
Beauty, rarity and durability are the various shades of red or brown. Ranging from
specific properties that raise a mineral to the transparent to nearly opaque, it can be facet or
rankof agemstone. Sparkle and colour enhance cabochon cut.
the beauty of a gemstone. Some stones have The tourmaline occurs in Chitral, Gilgit,
foreign matter embedded in them, for instance Swat and Dir. It is formed in thin pencil-like
the turquoise has brown and the lapis-lazuli has crystals and comes in a wide variety of colours
golden flecks of pyrite; such inclusions are controlled by the different metallic content.
marks of enormous complexgeological Golden, yellow, golden brown, very bright lime
processes which provide clues to the gem's green and pink tourmalines offer a wide variety
origin. They should not be regarded as flaws, to the jewellers repertoire. It is usually
instead they make a positive contribution to the transparent and can be facet cut.
inner beauty of the gem. The ruby deposits in Pakistan occur in the
All gemstones except amber are minerals
rugged and almost inaccessibleterritoriesof the
hilly regions in the north making mining of this
and formed by the solidification and
crystallization of solutions through
stone extraordinarily difficult. The most
millenniums. Diamonds, kunzite, sapphires, extensive ruby deposits in Pakistan are located
in the Hunza valley of the Gilgit Agency. The
topaz, alexandrite, rubies, emeralds and lapis-
lazuli are all formed by this process. To qualify
Hunza ruby is of a transparent deep red variety.
as a gemstone, a mineral must also possess The ruby owes its colour and rarity to a
durability and be able to withstand abrasion, trace ofchromium which settled in the mineral
scratches, corrosion, chemical effects and the during crystallization. Chromium, as a rule,
bleaching effect of light. appears only in deeper levels of the earth and
rarely rose to higher levels to combine with
Apart from the emeralds and rubies for
aluminium oxide to produce red corundum,
which Pakistan is renowned, a variety of semi-
known as the ruby. The gem has a gradation of
precious stones are also found, and these
colour ranging from light to deep red. It is
include aquamarine, topaz, tourmaline, kunzite,
seldom without inclusions; almost all rubies
jade, lapis-lazuli, garnet, and fluorite.
contain tiny crystals of foreign matter. Some
Jade occurs in Gilgit and the North West have a glittering silver web of very fine rutile
Frontier Province of Pakistan. Jade is a loose needles which when cabochon cut display a six-
description of two different minerals: jadite and pointed star. The stone being brittle is generally
nephrite. Jadite is the more precious of the two step-cut, whilst the 'star-rubies' are cut en
minerals and found in various colours including cabochon.
72
The lapis-lazuli is found in the tribal areas I
*%!«£"
of North West Pakistan. It is of a brilliant blue
colour with golden specks caused by inclusions
of iron pyrites. The structure of this opaque
stone extremely complex made up from a
is
pale leaf green to sea green. Emeralds are favoured cut is step cut. 6 Rubv
7 Garnets
seldom free from inclusions. Liquid or gas-filled Aquamarines occur in the Shigar Valley of 8 Emerald
cavities and mineral inclusion make each stone 9 Topaz
Kaghan and in the Neelam
Baltistan, Chitral, TO Aquamarines
unique.
Valley of Azad Kashmir. The gem is transparent
The lapidary methods most favoured for and ranges from sky blueto sea green in colour.
cutting are the step cut or emerald cut, and the Likethe emerald, the aquamarine belongs to the
cabochon cutwhich gives thestone lesssparkle beryl group and has a hexagonal crystaline
but makes more of its colour. structure, but is always step cut.
23
Mumtaz Mahal,
wife of Emperor
Shah Jehan
Miniature painted
on ivory,
19th century AD.
Filigree iia//
Repousse bali
Filigree earring
24
m
<£&:
1 f\\\<i\i:f: ihumk.i
y Phul ihurnk.i
3 B'lli jhuriik'i
4,'^j,6 Poriflrint f;;irrinfj':,
26
7 Chand ball vj\\Y\ pipal \<^b\
S /C/jr^z-Var; />;ork earring with
ear support
9 Gold filigree hali
10 Filigree /^a// with p/pa/ leaf
cluster
27
1 Jhumka with rubies and pearls
2 Nauratan eBTur\(^
3 Calligraphic motif earring
4 Repousse work ball
5 Cable chain earring
6 Worked gold earrings
7 Emerald filigree earrings
pi^^l^^^^
Selection of gold and gem-
encrusted earrings in
29
Jhoomar
Tikka
Bindiyas
30
s?
^.
'^
1 Ruby -irifJ pf-;irl iihilh.! p.itli
2 Tikk,r, \i\ kurifl.ifi ',f.'1tirii]
3 Naur^itan tikkn
4 Jtkkii with ruby
5 Naumtan tikka
G Gem sot bincliya
1 Turquoise hindiya
32
8 Jhoomar
9 Gold chain matha patti
10 Gold tikka
n Emerald filigree r/A*,i
33
Tombstone for a woman's grave
Chaukandi, Smd
16th— 18th century AD.
.V;:^
'^s^Sfe-'
'
^9
^^' -^
Hi^i*^
i^^ :*;>rj
1 Ruby and pearl pendant
with square link chain
2 /7a/7s// set with emeralds,
rubies and pearls
3 Champakali
4 Repousse work h.insh .ind
karas
5 Diamonfi cut gold IjckIs
with r<,'poussf! work
li.'rniinals
f> Riiliv.iiid [iiMrl [lond.mls
on [iC'-irl sloiiuls
7 (.olrj l.u(|l<- motil nockljce
8 Kuni/.iii W( Ilk hokcr
(
M ri^'
40
Ill
I
^1
5Sl i
?;mN^,
^JT^
"'it
"V^
Chrindi^n bar
42
Flower and leaf motif necklaces
43
From watercolour
a
by A. Chughtai
R.
20th century AD.
48
1 Diamond-cut foloral motif
bracelet
2 Ruby and emerald
medallion on pearl strands
3 Turquoise and pearls
bracelets
4 Turquoise set in gold
5 Ruby and emerald motifs
on pearl strands
6 Turquoise and pearl
bracelets
49
Empress Nur Jehan
Mughal miniature
painted after the
i-'iiSfswBsssa Western style;
19th century AD.
u
Rings Imelt a golden sunbeam for her ring.
Cold metal encircling the lotus petal
Softness of her fingers? Ah, no!
Imelt a golden sunbeam for her ring.
50
-^.4
-^ '
4tM
V<\^
52
Sets
Goldsmith at work
54
1 Emerald necklace with
emerald bead clusters
2,3,4,5 Floral and leaf motif sets
56
58
1 A/aura^an pendants on pearl
strands
2 Gem-set beads and pendants
strung on cord
3 Emeralds, rubies and pearls
n wreath motif
4 Turquoise and pearl
pendants
59
^^
esj
^*f^
1 Opalsandgarnetssetin white
gold
2 Emeralds and pearls
3 Cabled filigreeand garnets
4 Filigree work and amethysts
5 Rubies and pearls
61
Nauratan set with chand hah
Jhurnkas
62
1,2,3, Ruby and pearl sets
4 Rubies, emeralds and pearls
in a filigree set
63
1 Filigree with 6a// y/7umte
earrings
2 Ruby and pearl necklace and
pendant earrings
3 Amethysts set in golden
tendrils
4 Turquoise set
w ^
m ^
64
5 Emerald, ruby and pearl set
65
1 work in turquoise
Sat/a/rar/
and pearls
2 Flower and leaf motifs set
with diamonds
3 Filigree with diamond-cut
pendants
4 Kundan with pearl drops
5 Necklace of ^i>n£ya/7 pendants
67
Stone bust of the Bodhisatva
originally gold plated;
circa 1st century AD.
5 Anklets
6 Armbands
7 Brooches
71
Hollow double-ringed
anklets of silver from
Taxlla circa 1st Cent. A.D.
72
Silver anklets
1 Hanslis
2 Earrings and i)a//s
3 Engraved bracelets with bells
4 Lapis-lazuli and amethyst
earrings
5 Finger rings
6 Filigree necklace
7 Engraved and chain
bracelets
74
1 Enamelled silver and glass
bead necklaces
2 Glass and silver bead
necklace
3 Filigree pendant with glass
and garnet beads
4 Octagonal silver beads inlaid
with glass
76
Engraved and diamond-cut
chain necl<laces in silver
77
1
79
Glossary
Tikka
Pendant worn in the middle of the forehead,
oftensuspended from a chain clipped to the
hair.
Bindiya
A small forehead pendant.
Kara
A thick round bangle, solid or filled with lac,
worked or encrusted; sometimes with
plain,
ornamented finials.
Bali
Circular pendant earrings.
Chand Bali
Crescent shaped earrings.
Nath and Pezwan
Ornaments for the nose.
Phul
Flower
Har
Necklace
Nauratan
Multicoloured gems— originally meant nine
varieties.
Karan phool
Earring in the shape of a flower.
81
Bibliography
HENDLEY,Col.T.H.
"\n(i\an JeweWery"— The Journal of Indian Art &
Industry. Vol. XII,
I. W. Griggs and Sons Ltd., London, 1908.
82
Acknowledgements
83
Photographed, designed and produced by the
Pakistan Design institute.
Text and consultancy by IVIrs. IVIubina Zubairy.
Printed by<E>Elite Publishers Limited, Karachi.
84