A Comparative Study of Traditional Indian Jewellery Style of Kundan with European Master Jewellers, a Treatise on Form a
Jewellery has universal appeals that transcend borders of countries and cultures. There are examples of Indian jewellery being influenced by European tools, technology and in turn European jewellery drawing inspirations from Indian jewellery motifs and cu
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Abstract Jewellery has universal appeals that transcend borders of countries and cultures. There are examples of Indian jewellery being influenced by European tools, technology and in turn European jewellery drawing inspirations from Indian jewellery motifs and culture. Indian and European jewellery styles due to this mutually wholesome relationship have common grounds for a comparative study, observing similarities and understanding differences. A traditional Indian goldsmith works in anonymity, rarely seeking personal name or recognition. Therefore, in India a style begets a name that is not associated with a particular design house, yet has a distinctly different identity. Kundan is one such example that uses an intricate frame of gold for setting minimally polished diamonds. A European master jeweller on the other hand has a style synonymous with their design houses. Names such as Cartier, Van Cleef and Arpels and Tiffany are few such examples. They are identifiable from other comparable styles by use of distinctive motifs, treatment of form, usage of specific cuts of gemstones and types of setting. These characteristics give a logical basis for comparison and understanding features of form. Based upon these, Indian style of Kundan is compared with European contemporary styles. A treatise on the subject elucidates how a typical Indian jewellery style is analogous to European Master Jewellery styles. It draws parallels between these styles and provides a structure for studies pertaining to form in domain of jewellery. Such studies in domains of design are new, this subject gains importance by sharing deep insights from pioneering research in subject matter. Keywords Traditional Indian jewellery Studies in form
European master jewellers Design
P. K. Vyas (&) V. P. Bapat Industrial Design Centre, Indian Institute of Design Bombay, Powai, Mumbai, India e-mail: [email protected]
A. Chakrabarti and R. V. Prakash (eds.), ICoRD’13, Lecture Notes in Mechanical Engineering, DOI: 10.1007/978-81-322-1050-4_19, Ó Springer India 2013
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P. K. Vyas and V. P. Bapat
1 Introduction Kundan is traditional Indian jewellery style that is elaborately embellished with gemstones and colourful enamel. It has a character of its own that has remained unchanged over a period of time. Motifs [1, 2], often identifiable by their individual names are used in this particular style. Motifs are frequently mimicking nature, liberally adopting from flora and fauna [3, 4]. These smallest semantic units are the fundamental building blocks and used in combination with each other make a form cluster. In turn, these form clusters make patterns which are repetitive and appear through the body of jewellery as a coherent theme. There are manners of construction of these form clusters that are passed down from generation to generation, from master to an apprentice. An article of kundan jewellery is distinctly identifiable by its characteristic appearance [2] as shown in Fig. 1. This technique of setting, from which it derives its na
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