Traditional v/s Modern Meenakari Jewellery

NEUROQUANTOLOGY | SEPTEMBER 2022 | VOLUME 20 | ISSUE 11 |PAGE 4615-4627|DOI: 10.14704/NQ.2022.20.11.
NQ66470
Harminder Singh et al / Traditional Vs Modern ‘Meenakari Jewellery’: Pointers for the Discerning, Precautions for the Novice – A Review
Traditional Vs Modern ‘Meenakari Jewellery’:

Pointers for the Discerning, Precautions for
the Novice – A Review
Harminder Singh, Scholar
Department: School of design, Sushant university
Email id: impeccableskills@gmail.com, harmindersingh@sushantuniversity.edu.in.
Abstract
Dominant narratives within the field of design are usually those narratives in which artisans and the
traditional craft are preserved or ‘rescued’. The conscious professionalization of ‘design’ and the
concomitant incorporation of a particular moral code within that emergent, predominantly middle-class
profession operationalize designers as agents of a global hierarchy according to which artisans’ bodies
and labour are assigned a specific value. These narratives handed down through word of mouth over
generations have a wealth of information that transcends practical application. This paper reviews the
modern aspects of traditional design mechanisms against the heritage art form of meenakari jewellery.
the inputs are the authentic experience of a master craftsperson.
Herzfeld (2004) developed a theory of the ‘global hierarchy of value’, according to which traditional
artisans are discursively constructed as socially and economically subordinate to contemporary global
capital. A parallel consideration is done of ‘designers,’ the professionals trained in the urban metropole 4615
who often mediate between the aesthetic sensibilities of a global cosmopolitan elite and the parochial
practices and menial labour of artisans.
Key Words: design; craft; artisan; nationalism; globalization
DOI Number: 10.14704/nq.2022.20.11.NQ66470 NeuroQuantology 2022; 20(11): 4615-4627
Introduction  Pratapgarh for Glass Meenakari

Meenakari is an age old art form of decorating  Varanasi for Gulab Meenakari
metal with colored enamel. The artisans who This art form has its origins in Persia. It was
practice this art form are called ‘Meenakars’. prevalent in the Mughal palaces. Raja Man
The art form mainly involves making vibrating Singh of Amber invited skilled Meenakars from
colorful jewellery. Other objects produced using the Mughal palace at Lahore to Jaipur. He
Meenakari include all forms of decorative brought this art form to Rajasthan. Now, Jaipur
articles. is a renowned centre for the Meenakari art
Centers of Meenakari Art in India are mainly form.
focused in:
 Nathdwara, Bikaner, Udaipur for Silver
Meenakari
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NEUROQUANTOLOGY | SEPTEMBER 2022 | VOLUME 20 | ISSUE 11 |PAGE 4615-4627|DOI: 10.14704/NQ.2022.20.11.NQ66470
Other areas where meenakari is worked to a Lucknow.

small extent include parts of Delhi, Punjab and
Plate 1: Intricate Work on Royal Bangle or ‘Kada’
4616
Source: CulturalIndia.net- Meenakari Jewelry
Variations in Meenakari covered or a pair of bangles (kara) can be made

Meenakari as a process involves covering a with three dimensional ‘makara’
metal object with coloured enamels. Red, elephant/lion/bird heads. The ornaments can
Green and White enamels dominate in this art. also be further decorated with precious and
The metal used is called ‘chitras’. An entire semi-precious stones such as Diamonds, Rubies,
object or parts of the object can be covered Emeralds, and a host of others.
with enamel. For example, a pendant can be
2
Plates 2: Exquisitely Designed Neck Piece and Earrings
4617
Source: IndiaMART, Fashion Meenakari Kundan Set Wedding Wear Jewellery For Women Jewellery,
Satyam Jewellery Nx, Mumbai | ID: 5679820333
The different types of meenakari can be  Fakhta– a dove

enumerated as follows:  Khula Nila– transparent dark blue
(i) Ek Rang Khula Mina  Khula Sabz– transparent green
This method involves the use of single colour
transparent enamel. The engraved area is filled (iii) Gulabi Mina
with single enamel leaving gold coloured A pink enamel derived from Gulab (rose) is
outlines exposed around figural details. used. This form of Meenakari is found in the
Varanasi area. in this process transparent pink
(ii) Panch Rang Mina enamel is painted on an opaque white
This method uses enamels of five colors background. Then a single transparent enamel
namely, is used to fill the ground around an opaque
 Safed– opaque white figure. The colours of the ground can be:
 Fakhtai– opaque light blue  Lal zamin- transparent red ground
3
 Sabz Zamin- transparent green ground pen holders. The metals used include gold,
 Nil Zamin- transparent blue ground silver and copper. Nowadays, mostly silver and
This provides a contrast and highlights the copper are being used.
subject.
Some exotic meenakari elements can be seen in
The pink enamel is mostly used to paint flowers niche products like the Meenakari Huqqas or
in the design. Areas other than flowers are the hubble bubble which was earlier used by
painted using the ‘champleve’ style. Gulabi rural people for smoking tobacco. The hookah
Mina is a mixed style of enameling. has now been placed in the ‘hookah bars’ of
fashionable urban cities. Huqqas of various
(iv) Bandh Mina Khaka colors and designs were made during the
This method involves the method having an Mughal period. Other forms of meenakari
opaque cartouche or outline. The transparent products include, bowl sets, Meenakari Roman
colour is surrounded by opaque enamel chair, chowki set, hand casted Meenakari
cartouche. chowki (low stool) set with white alloy metal, 4618
utility box thrones, dining sets, key holders,
Enameling and Other Crafts- A Merging of photo frames, ash trays and a huge variety of
Boundaries other items of utility and décor. Each a
Meenakari art work is often combined with masterpiece. Each catching the eye. Older
Kundans making the articles an amalgamation homes (called haveli) even had meenakari doors
of stone carving and enameling. which can till date be been in certain temples of
North India.
Step by-Step Enameling Entails the following
processes: Indian jewellery is not merely a craft, but has
 Step – I: The design is engraved by the evolved into an art - both in design and
‘gharias’ who are adept at making workmanship. The Indian arts and crafts of each
depressions on the Chitras metal. age reflect the culture, traditions and
 Step – II: After designing, the enameller happenings of that particular era. Every age,
applies different colours to the every dynasty, and every empire has influenced
engraved design. Colours are applied the art and crafts of the Indian niche
with the help of brushes. craftsmanship. Various genre of jewellery such
 The base is first covered with as silver, diamond studded, ‘Polki’ ‘Jadau’
white/pink enamel. After which colour stone, ‘Thewa’, ‘Kundan’, ‘Meena’, etc.
different colours are applied depending all have their individual character and
upon their hardness. significant holding in terms of jewellery. The
 Step – III: there are five separate Kundan Minakaari style of jewellery presents a
enamel applications that are made. unique blend of two distinct genres of jewellery
 Step – IV: The article is then heated crafting. Both these design are stand alone
with great care to enhance the richness techniques of jewellery making, offering infinite
of the colours. possibilities of manifesting the craftspersons
 Step – VII: The heated object is finally creativity and imagination to make a piece of
polished and cleaned. Hand burnishes jewellery that is just magnificent.
are used to cover the exposed metal.
The glossary of Kundan Minakaari work on gold
The Meenakari art practitioner produces a wide jewellery and accessories in India is governed by
variety of articles ranging from ornaments to two distinct techniques which originate from
4
entirely varied lines of origin and thus, representing flora and fauna, also actively uses
individually, they claim a strong visual presence geometric shapes with an effective closed
of their own. When put together, the contrast composition.
between them is blended in a mutually
enhanced manner, depicting a harmonious This craft is currently facing few
visual expression that is visually and experimentations that contemporize the
aesthetically exquisite. orthodox motifs like flowers and leaves to
Contemporaneous Design Elements in geometrical shapes, architectural forms,
Meenakari classical stained glass art, birds, etc. These
Beyond the larger conceptual framework, the initiatives create unique and unusual designs
element of contrast, both visual and tactile, which require highly specialized skills. Every
continues to dominate various aspects of the piece that is manufactured incorporates an
Kundan Minakaari work. The foremost among element of creative, unusual, eye-catching 4619
them is the visual theme wherein more often design which separates it from most jewellery
than not, the sides with Kundan and Minakaari of today.
work (the latter is often done on the reverse Author’s Narrative: A Master Craftsperson
side) portray different imagery. However, it is Speaks
also possible that the same theme is translated Design innovation is a continuous process of
on the front and back. Enamelling is almost evolution through transformation that results
always rooted in the imagery of floral elements, constantly in new, innovative, conceptual
animals, birds, hunting scenes, and deities etc. designs with a modern or contemporary look.
The side with Kundan work, apart from
Plates 3: Innovative Design Concepts in Meenakari
Source: Asia InCH - Minakari/Enamelling on Copper Jewellery and Jewelled Objects of Delhi – Asia InCH –
Encyclopedia of Intangible Cultural
5
“I am a master craftsman of meenakari, the by Her Highness Raj Mata Padmani Devi of
extraordinary enamel craft closely associated Jaipur for my work. The Maharaja Sawai Man
with the Pink City of Jaipur. The art has been Singh II Museum Trust has recognised my
passed down from generation to generation. I contribution to the art of meenakari and my
come from the family of Late Raj Kumar Sankit sustained, indefatigable efforts to pursue,
who was a master craftsman. Other members refine and further this traditional craft in the
of my family are also trained in the art”. contemporary context. The Trust honoured me
Craftsmen have learnt and experiment with this with the Raja Bhagwant Das Award in 2018 For
art for generations. Meenakari is in the very Excellence in the Traditional Crafts of Jaipur. I
blood of some of the young artisans today. They have also received the World Crafts Council
need strong back up and support to carry their (WCC) Award of Excellence for Handicrafts in
skills further. Patronage from government and 2018 for the South Asia Subregion for an
sponsorship from private institutions can get exquisite meenakari photo frame that I had
the artisans to function in a conducive made”. 4620
atmosphere of creativity”.
“Meenakari is a painstaking, traditional process “I have given live demonstrations in New York
that can take months to finish. I am inspired the (USA), Budapest, Australia, Switzerland, Italy,
by artistic beauty of the Jaipur City Palace. My and several neighbouring Asian countries. I
jewellery inventory encompasses buttons, recently represented India to promote this art
cufflinks, rings, bracelets, necklaces and form in Honolulu (Hawaii) and Lipoint Gallery in
earrings exquisitely hand painted with birds, Vancouver, Canada. I am bringing new
animals and floral motifs using the art of collections in gold with kundan meenakari work
meenakari”. along with special nizam setting jewellery which
is a raging trend at the moment”.
“I won a National Merit Award in 2003 for
excellence in meenakari. I have been honoured
Plates 4: Regal Display of Bridal Jewellary
Source: Craftsvilla- Meenakari Jewellery

6
A significant influence over the bridal jewelry in of technical skills required for its creation which
India has been brought by Kundan, Rajasthani give a rare perfection to the ornaments with
Meenakari and Thewa works which play a meenakari designs.
pivotal role in shaping the beautiful designs and
carving the shapes of the modern day jewelry of Historical Perspective on the Art of Meenakari
the Indian bride. Delicate, minute detailing, Raja Man Singh of Mewar is regarded as the
potential use of precious gem stones and foremost patron of meenakari art who gave it
exquisite meena work and intricacy of the unstinted patronage during the 16th century in
design form an important part of Indian bridal Jaipur making it the global hub of meenakari art
jewelry. today. There was a sharp influx of highly skilled
craftsman from Lahore. In a few years, the
The meenakari work of Rajasthan has greatly talent of the craftsmen made the place a
influenced the bridal jewelry collections of specialized centre of meenakari designing.
India. The beauty of this art lies in the intensity
Plate 5: Splendid Bridal Neck Piece with Kundan and Meenakari Work 4621
Source: Craftsvilla- Meenakari Jewellery
Meenakari basically comprises the process of the pictures is enhanced by filling the enamels
coating grooves or engravings in ornaments which give a vivid clarity to the rare theme
with colored enamels. A wide variety of metals according to which the grooves were designed.
can be used for meenakari designing which Meenakari jewelry is used to beautifully express
include brass, copper, silver and gold. The various themes and occasions that give an
jewelry highlights depressions similar to a exquisite look to it. This is one of most
popular design or animal figurines or images of applauded features of the meenakari technique
gods and goddess. The idea behind this is to which distinguishes it from others.
give the appearance of a picture. The look of
7
Plate 6: Contemporaneous Design in Meenakari
Source: http://www.fashionlady.in/as-wedding-season-approaches-bridal-jewelry-gets-a-stunning-
makeover/5500
4622
The word ‘panchrangi’ refers to the use of five addition to Kundan jewelry which gives an
colours which include white, pale blue, dark amazing look to the Indian brides. Use of
blue, red and dark green. These are such vibrant various precious and semi precious gemstones
colors that their usage gives an exciting look to in the Meenakari art work uplift the look of the
the Indian traditional bridal or even formal meenakari jewelry to the next level.
jewelry. Meenakari works can be used in
Plate 7: Process and Passion to Innovate in Meenakari
Source: http://blog.isharya.com/blog/bid/308123/Behind-the-Scenes-The-Art-of-Meenakari-Enamel-
Jewelry
8
The art of meenakari involves coloring and

ornamenting the surface of metals with the use Since the past century gold has been a
of brilliant colors in a beautiful design. The preferred metal for meenakari art as it has the
word, meenakari, is derived from meena, which ability to hold the enamel in a better manner.
is the feminine form of Minoo in Persian, The usage of gold in meenakari works also
referring to heaven. Meena means the azure enhances the lustre of the art while bringing out
color of heaven. This art was invented by the the colors of the enamels beautifully. The usage
Iranian craftsmen of the Sassanid era and of silver in meenakari work was introduced later
spread by Mongols to India and other countries. which was mainly used for making bowls,
Jean Chardin, a French tourist who toured Iran boxes, spoons, and art pieces. Later on, copper
during the rule of Safavid has referred to an was also introduced in meenakari art after the
enamel work of Isfahan. This work consisted of Gold Control Act which forced the meenakars
a pattern of animals and birds on a floral (meenakari artisans) of India to look for metals
background of light blue, yellow, green and red other than gold for creating meeenakari jewelry
colors. The piece must have been exquisite to and other art pieces.
evoke such praise.
Plate 8: Process of Creating Meenakari Jewelry

4623
Source: http://www.dsource.in/resource/kundan/process/meenakari/meenakari-%2014.html/
The designer, who is called ‘chitera’, goes to a craftsmen who help in creating the finished
number of other qualified craftsmen to product.
complete the job at hand. First he goes to the
goldsmith who engraves the design. The The surface of the metal being used is engraved
enamelist applies the colour and the polisher, with intricate designs by the ‘meenakars’ using
the stone-setter, and the stringer form an a metal stylus and this surface is then later filled
integral part of the important chain of with colors. After that, the ‘meena’ is placed in
9
a furnace where the colors get fused and used to gently rub the surface and bring out the
hardened and appear uniform on the surface. luster of each color.
Thereafter a mixture of lemon and tamarind is
Plate 9: Enamel Colors Chiefly Comprise Metal Oxides
4624
Source: http://www.dsource.in/resource/kundan/process/meenakari/meenakari-%2014.html/
The Vibrant Enameling Colours as the main functional character. Before the
Each enamel color consists of metal oxides application of enamel, it is necessary to clean
mixed with a tint of finely powdered glass. They the surface of the ornament carefully. To get
are listed as follow: the true colors, the mixtures are fired in the kiln
(i) The color yellow is obtained by using at an average temperature of around 850
Chromate Of Potash degree Celsius.
(ii) Violet is obtained from Carbonate of
Manganese The Brand’s Claim to Authenticity
(iii) Green from Copper oxide Products that are genuine and real and not an
(iv) Blue from Cobalt oxide imitation are said to be authentic. Consumers
(v) Brown from Iron oxide tend to seek traditional or historical products in
(vi) Black from Manganese, Iron, and Cobalt order to have authentic experiences. Beverland
(vii) Red in from the Oxides of Iron and (2008) proposed six dimensions of authenticity:
Copper as well as some other elements heritage and pedigree, stylistic consistency,
quality commitments, relationship to place,
The brilliant red is the most difficult color to be method of production and downplaying
created. The colors are applied on the metal as commercial interest. Bruhn (2012)
per their level of hardness keeping the hardest characterised it through continuity, originality,
10
reliability and naturalness. It is commonly held by the consumer in his/her

associated with quality commitment, sincerity interaction with the brand, that it is
and heritage. based on the perceptions that the
It is often observed among consumers that they brand is reliable and responsible for the
use products and experiences to connect to interests and welfare of the consumer.”
places, history, culture and people. Some are There are many aspects of brand trust
detailed as follows: like:
(i) The Perceived Value (PV) Construct: a. Trust placed by one party on another
Petrick (2002) concluded that value despite putting themselves at risk
consisted of five dimensions including b. Confidence and security are keys to the
quality, emotional response, monetary development of trust
price, behavioural price and reputation. c. Brand Trust exists where there is a
possibility of error, failure or
(ii) Brand Authenticity: Affinity and disappointment.
Perceived Value Relationship: Brand authenticity therefore can be said to play
Researchers have hypothesised that an important role in the success of any brand.
brand heritage has a major impact on Consistent and continuous fulfilment of the
Brand Authenticity. Its impact is seen brand promise is an important factor in creating
on four dimensions of perceived value. perceptions of authenticity in the minds of
These are economic, functional, consumers. Since the perceived value and
affective and social. brand trust are directly related to brand
4625
authenticity, most manufacturers, managers
(iii) The Brand Trust Construct: Delgado and executives place special emphasis on
and Fernandez (2016) have defined improving these variables.
Brand Trust (BT) as a “feeling of security
Plate 10: Neck Piece and Earrings with Meenakari and Jadau Work
Source: Wedding Bazaar Stylish & Vibrant Meenakari Jewellery Designs for Every Bride-to-be!
11
While exploring alternative approaches to Incorporating digital technologies into the work
assessment as ‘one of the major issues of the needs to be more intuitive as the crafts persons
decade’ in the 1990s (Cognition and Technology tend to rely on the experience gained by
Group at Vanderbilt, 1993), the higher practising his or her craft techniques over
education teachers in the current decade are generations. Each craftsperson has a distinctive
scarcely more informed on the practical signature which is a strong and major part of
implementation and use of alternative, their craft manifestation. It is difficult or even
authentic assessment methods as were their impossible for CAD to pick up these finer
traditional counter parts. Innovative and nuances which only the discriming eye can
appealing ideas on alternative assessment seen. Many a seasoned crafts person can
methods have evolved in response to distinctively point out the craftsmanship of a
challenges and opportunities offered by new particular artisan. This is a singular signature
technologies, in particular, to those contributing that is hard for the common eye to catch so
to online learning (Reeves, 2000). subtle are its indications. In many instances
even the mechanical prowess of computers
There are two major impediments to the cannot capture it.
widespread adoption of authentic assessment
4626
one being institutional and the other Conclusion
pedagogical. One constraint comprises the Changes and adaptations excel within the
policies and accountability procedures set by development of society. The Indian film
universities that often limit the discretion of industry has always been considered as a mirror
teachers to use appropriate forms of of society. Initiatives to create unique and
assessment. Another problem is that even in unusual designs require tremendous inherent
situations where teachers have discretion in skills. Every piece that is manufactured
assessment, reporting systems can cause a lack incorporates an element of creative, unusual,
of alignment between task and assessment. eye-catching design which separates it from
When considering the imparting of education most of the jewellery of today. It works equally
on arts and crafts demanding highly specialized well with western ensembles and traditional
skill. garments like a sarees and other ethnic wear. If
the outfit is aesthetically stunning but heavy the
The Advent and Impact of Technology in designers emphasis usually is to create
Craftsmanship jewellery on simpler lines. On the other hand, if
Technology has apparently influenced creativity the outfit is simple then one can afford creative
quite adversely. Most artisans have become freedom of highly impressionable jewellery by
very mechanical in the use of their skills. choosing various stylized motifs from the
Creativity seems to have become bereft of all contemporary library and play with newer
traditional values, meanings and judgements. inspirations, texture, lines, colours, forms and
No doubt technology has created several styles. It is a resplendent field of myriad colours
opportunities to challenge perceptions of the and motifs brought to life by the expression of
body and the traditional manufacturing the artisans imagination.
techniques. However, combining the Computer
Aided Design (CAD) with delicate handcraft Conflict of Interest: There has been no conflict
techniques has resulted in anxieties over the of interest in the writing of this paper.
authenticity of the finished product. Findings: The paper has been finded by the
author’s business enterprises of generations
purely with the best interest of the crafts at
12
hand. DeNicola Alicia Ory & DeNicola Lane (2012)

Rescue and Redemption, Cultural Studies, 26:6,
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claims”, Journal of Advertising, Vol. 37 No. 1, 141-151. https://ro.uow.edu.au/edupapers/849
pp. 5-15. Herzfeld, M. (2004) The Body Impolitic: Artisans
Bruhn, M., Schoenmüller, V., Schäfer, D. and Hei and Artifice in the Global Hierarchy of Value,
nrich, D. (2012), “Brand authenticity: towards a University of Chicago Press.
deeper understanding of its conceptualization Ladhabhoy Aliya (2021) A Meenakari Artist Par
and measurement”, Excellence: Deepak Sankit.
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(1993). Anchored instruction and situated https://www.culturalindia.net/jewellery/types/
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Traditional Kundan Meena Jewellery By Indian value of a service”, Journal of Leisure Research,
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NEUROQUANTOLOGY | SEPTEMBER 2022 | VOLUME 20 | ISSUE 11 |PAGE 4615-4627|DOI: 10.14704/NQ.2022.20.11.

Traditional Vs Modern ‘Meenakari Jewellery’:

Introduction  Pratapgarh for Glass Meenakari

Other areas where meenakari is worked to a Lucknow.

Plate 1: Intricate Work on Royal Bangle or ‘Kada’

Source: CulturalIndia.net- Meenakari Jewelry

Variations in Meenakari covered or a pair of bangles (kara) can be made

Plates 2: Exquisitely Designed Neck Piece and Earrings

The different types of meenakari can be  Fakhta– a dove

Plates 3: Innovative Design Concepts in Meenakari

Plates 4: Regal Display of Bridal Jewellary

Source: Craftsvilla- Meenakari Jewellery

Source: Craftsvilla- Meenakari Jewellery

Plate 6: Contemporaneous Design in Meenakari

Plate 7: Process and Passion to Innovate in Meenakari

The art of meenakari involves coloring and

Plate 8: Process of Creating Meenakari Jewelry

Plate 9: Enamel Colors Chiefly Comprise Metal Oxides

reliability and naturalness. It is commonly held by the consumer in his/her

hand. DeNicola Alicia Ory & DeNicola Lane (2012)

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