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180 BC - 10 BC
183 BC - 73 BC
321 BC - 181 BC
2600 BC - 1300 BC
Stone Age people started making jewellery not long after they started making weaponry. Their jewellery included beads on necklaces and bracelets, pendants and hair pins. They made these beads from shells, animal teeth, animal bones or stones. They would then thread these beads onto string often made from plant stems or thin strips of animal hide. They would even sometimes decorate their jewellery by carving designs into the bead's surface.
Stone age people made jewellery out of bits of bone, tooth, tusks, shells and stones. Find out how to make your own out of salt dough.
Bronze Age produced a unique style among jewelry designers. The initial jewelry pieces were similar to the metal jewelry. This style was adopted during the Mesopotamian ages, but gradually bronze started coming across as one of the best metals for imitation jewelry.
Two of the most common types of Bronze Age jewelry across many societies were the torc and the gorget. A torc was a band of thin, twisted metal that could be worn as a bracelet, necklace, decorative belt, or really over any part of the body it could be wrapped around.
The archaeological evidence suggests that both men and women wore ornaments in the Harappan civilisation. They used ornaments made of gold, silver, and other metals. These ornaments included bangles, chokers, long pendant necklaces, rings, earrings, conical hair ornaments, and broaches.
The earthenware vessels of Mohenjo-Daro were mostly wheel-made
and well baked. Motifs like fish, leaves, Dear, bull and crudely appears on pottery
from Harappan Civilization.
Bronze “Dancing Girl” Found at excavation site of Mohenjodaro.
Place of Origin: Mohenjodaro
Seated male sculpture, or "Priest King"
from Mohenjo-daro.
Material: white, low fired steatite
Jewellery Pieces
Place of Origin:Indus Valley, Mohenjodaro
The scene is set on a terrace surrounded by screen walls and a pavillion in the
background. In the foreground the central seated figure of the painting is that of
Nawab Alivardi Khan and he has been depicted as holding a 'Sarpech' (Kalgi ornament).
A variety of ornaments were used for head, neck, ear, arms, etc. The tradition of mix and match in jewellery appeared with different kinds of jewellery like Apavartika – a necklace with alternative Gold and pearl beads.
Mother Goddess Figure
Period: Mauryan Period, 3rd - 2nd Century
Material Terracotta
The Buddhist monuments at Bharhut, Sanchi, Bodhgaya, and Amravati are attributed to the Sunga and Satavahana phase of Indian art history. This provides an insight on Indian jewellery through their carved stone sculptures. Sunga and Satavahana art reveals that a large variety of ornaments to be used on head, ears, neck, arms and waist and feet. The motifs and designs of ornament were drawn either from nature or sectarian symbols.
A Royal Family
West Bengal, Chandraketugarh; Shunga Period
Yakshini
Period: Shunga Era
Material: Terracotta
EVOLUTION
The jewellery recovered from Sirkap has been dated to the first century BC. The jewellery found from the Sirkap is different from the ornaments found in the sculptures at Sanchi and Bharhut. This exhibits the Indian style of jewellery. Secondly the jewellery from Sirkap reveals the use of technical processes that was unknown in India. The jewellery found at Taxila is Greco Roman or influenced by Scythian or Persian source. At Mathura and Gandhara it is closer to the purely indigenous jewellery of the earlier periods. Gold was much in use.
The jewellery excavation from Taxila Provides rare material
evidence of the mastery of gold craftsmanship in ancient India.
Of the relatively rare finds of ancient gold jewellery, most are from the north west of the subcontinent, the region known as Gandhara in ancient times, and particularly from Taxila, a flourishing city since the fourth century BC and which has been extensively excavated. Most of this jewellery shows a strong Greek or Hellenistic influence. Earrings often consist of discs from which hang down tiny chains terminating in beads or sometimes-small gold-erotes, or cupids, in repousse.
Clothing in the Gupta period was mainly cut and sewn garments. A long sleeved brocaded tunic became the main costume for privileged people like the nobles and courtiers. The main costume for the king was most often a blue closely woven silk antariya, perhaps with a block printed pattern.
The renowned kronos earrings are startlingly similar to elaborate ear ornaments
worn by Sculptures at Bharhut and reliefs surviving from the stupa of Jaggayyapeta
in Kalinga
Bangles with elephant and Makaras (Crocodile) head portrays
evidence of the craftsman's skill.
Shah Jahan sent an embassy to the Ottoman court in 1637. Led by Mir Zarif, it reached Sultan Murad IV the following year, while he was encamped in Baghdad. Zarif presented him with fine gifts and a letter which encouraged an alliance against Safavid Persia. The Sultan sent a return embassy led by Arsalan Agha. Shah Jahan received the ambassador in June 1640. They exchanged lavish presents, but Shah Jahan was displeased with Sultan Murad's return letter, the tone of which he found discourteous. Sultan Murad's successor, Sultan Ibrahim, sent Shah Jahan another letter encouraging him to wage war against the Persians, but there is no record of a reply
Clothing in the Gupta period was mainly cut and sewn garments. A long sleeved brocaded tunic became the main costume for privileged people like the nobles and courtiers. The main costume for the king was most often a blue closely woven silk antariya, perhaps with a block printed pattern.
In sculpture, men often went without clothing on their upper-torso. Men's clothing consisted of a dhoti, which was worn around the hip and could be shortened into a loin-cloth or lengthened into a kind of wrap skirt resembling pants with one part of the cloth being threaded through the legs in front and then tucked into the back of the waist. Men also wore a turban, also called a pagri, a head covering that was typically a long piece of cloth without any stitches and that was wrapped repeatedly around the head.
Sculpture often portrayed deities without clothing on their upper torso, especially females, whose breasts were often large and symbolized motherhood. Women in real life would have been covered, but in sculpture, artists were allowed to take more liberties when portraying the female form.
Under the Cholas, the Tamil country reached new heights of excellence in art, religion, music and literature.[168] In all of these spheres, the Chola period marked the culmination of movements that had begun in an earlier age under the Pallavas.[169] Monumental architecture in the form of majestic temples and sculpture in stone and bronze reached a finesse never before achieved in India.
Mamaki with Vajra on Lotus Astasahasrika Prajnaparamita
Manuscript Pala School, late 11th Century
The emperor is portrayed with an exclusive green gemstone in his hand. The throne is
the most famous imperial seat marked in the history.
Maharaja Madho Singh is depicted with various jewelled ornaments such as bracelets,
armband, anklets, and sophisticated turban ornaments are also visible with an graceful
posture.
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