International Journal of History and Research

(IJHR)
ISSN (P): 2249–6963; ISSN (E): 2249–8079
Vol. 11, Issue 1, Jun 2021, 53-58
© TJPRC Pvt. Ltd.

REPRESENTATION OF FAUNA IN INDIAN JEWELLERY

Dr. GOMATHI GOWDA1 & G. LENIN BABU2

1Head of the Department, Department of Fine Arts, KL University, Guntur, Andhra Pradesh, India
2Assistant Professor, Department of Fine Arts, KL University, Guntur, Andhra Pradesh, India
ABSTRACT

The antiquity of Indian Jewellery goes back in time inspiring people with its breathtaking motifs. The influences,
concepts, designs, and techniques are varied and India being a "gem-bearing" land has been an abundant source of
precious stones and has attracted jewellery designers, aestheticians and the populace since ages. It is also said that
jewel functioned as a medium between the known and the unknown, between man and god. To the rulers, it acted as
statements of power and prestige and to the Indian women, it has been an enhancer of beauty.

Nature has been a source of design inspiration all through the historical backdrop of ancient and modern
jewellery, streaming with styles, social perspectives and impacts. Indian Jewellery uncovers a stunning variety of motifs
and designs which portray the endless procedures while assessing Indian art of ornamentation. Majorly, adornments
have floral and figurative themes. These themes have been taken from nature and surrounding environment. Jewellery

Original Article
designers have been inspired from the flora and the fauna and these motifs are lavishly used all along various periods.

The flora and the fauna are an inexhaustible source of inspiration for the designers. Among the south Indian
jewellery, animals and birds like the kirtimukha (lion faced), the gandabherunda, the peacock, swans etc. have a lot of
symbolism and appeal.

This paper will explore a few prominent motifs of animals and birds that have been adopted since ages and
continue to inspire the Indian craftsmen since centuries.

KEYWORDS: Fauna, Aesthetics, Symbolism & Motifs

Received: Mar 13, 2021; Accepted: Apr 03, 2021; Published: May 03, 2021; Paper Id.: IJHRJUN20216

INTRODUCTION

The history of Indian jewellery is as old as the history of Indian culture. Beaded jewellery has been discovered
among the ruins of the Indus Valley civilization, which dates back to 5000 years. The variety of jewellery worn by
man and woman, king and commoner, can be seen in the sculptures at Bharhut, Sanchi, and Amaravati as well as
the paintings at Ajanta. The Indian temple exhibits a gallery of jeweler’s art showcasing the elaborate Indian jewels
of the time marveled even by the Greek visitors to ancient India. The epics and the sashtras elucidates the intricate
art of the ancient jewelers, while the Tamil classic Silappadikaram provides information of a society dealing in
gold, pearls and precious stones. Many travelogues also mention the art of jewellery existing in India and the
Portuguese chronicler Paes records how the visitors were stuck in awe by the jewellery worn in the Vijayanagar
empire (Dave, Dushyant 2017: 23).

In India, the earliest ornaments of bone/clay have been reported from Mahadaha and Mehrgarh. The
necklace made of beads of bone, shell, terracotta, and semiprecious stones were found from Mehargarh, a Neolithic
site situated in Baluchistan region of Pakistan. The earliest evidence of cylindrical camelian beads of Harappan

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54 Dr. Gomathi Gowda & G. Lenin Babu

style were reported from Kunal, Mehrgarh, Nausharo, Nagwada and other Harappan region of Asia. (Dey Sumitha 2010:
99).

The unbroken tradition of jewellery in India continues from more than 5,000 years. Such is the expertise of the
Indian Jewelers, the concepts from nature that were utilized by our predecessors propelled them to reproduce the
endowments of nature in metal. In early India, adornments were made handmade from the regular materials found in
abundance throughout the nation (Dave, Dushyant 2017: 1).

Jewellery in India has drawn on many aspects of its people's history providing inspiration and solace to both the
wearer and the beholder. Sculptors and painters blurred the lines between fact, ideality, and fantasy by lavishly
embellishing their works with ornaments. Jewels were used by rulers as a symbol of strength and prestige as well as a
means of funding wars and buying peace. To Indian women, jewellery was more than just a means of enhancing their
beauty; it was also a kind of stridhan or protection, which could be used in times of need and distress. Jewellery was also
indicative of the wearer’s social status. Jewelry also finds a place in the metaphysical realm and often functioned as a
medium between the known and the unknown, between man and God. Jewellery made of precious gems and gold had an
intrinsic value. In India, jewellery has always been a portable wealth. Treasuries and temples were constantly raided during
invasions and large quantities of precious metal and precious stones were carted away by invaders, (Krishnan Usha, Kumar
Meera, 1999: 15).

In India, adornments are made for all intents and purposes for all aspects of the body. Such a set of adornments
attest to the Indian jewellers' exceptional abilities. In India, the range of jewellery varies from religious to simply
fashionable. An adornment was handcrafted for people as well as for Gods, stylize elephants, and horses. The dexterity of
adornments was given a memorable support right from ancient times in India, (Dave, Dushyant 2017: 2). Jewellery is
significantly more than simply an apparatus of aesthetic application; rather it is the image of heavenly wealth and material
endowments.

Gold is desired and worn by all in India, regardless of social status or income. Even among the poor, who
generally wear silver, brass, and bronze ornaments, a pair of simple earrings, a bangle, an amulet, or the marriage tali of
gold is mandatory. As a symbol of the goddess Lakshmi, who is said to preside over the “jewels and precious metals in the
womb of the earth” (Krishnan Usha, Kumar Meera, 1999: 230).

Motifs and Ornamentation

All through the ages all the world over, we find vivid examples of man's strong urges to express his creative and aesthetic
instincts in the form of self-adornment. Even the Stone and Bronze Age cultures made a deliberate effort at beautification,
no matter how far back in time we go. Primitive man used the materials available in his world to fulfill his simple need to
embellish himself. They began with simple designs and forms to decorate the walls of shelter and to satisfy their inner
creative desire. With the development of human race, history revealed many such symbols and motifs of animals and birds
on the walls of early prehistoric caves of Bhimbetka, India and Laas Geel, Africa.

Further, they utilized Feathers of exotic birds, dried grasses, and curly vines, seeds of fruit and flowers, bones and
ivory, shells and pebbles and ornaments of clay; all formed their ornaments. With the discovery of precious metals and
stones, man felt compelled to adorn himself with them. To craft these newfound metals, he developed intricate and
versatile tools and learnt to create complex design forms, deriving motifs from natural objects, he had been using for

Impact Factor (JCC): 4.7084 NAAS Rating: 2.90

Representation of Fauna in Indian Jewellery 55

centuries. We find images of animals and birds, leaves, and flowers of symbols of worship and complex geometrical
patterns repeated on ornaments. Some popular Indian motifs (Lotus, Swastika etc.) exists in universal forms of different
dynasties, (Dave, Dushyant 2017: 5).

In its broadest sense, the word "ornament" refers to decorative elements adapted or created from natural foliage.
These are different from geometrical elements in that they are organic, i.e. they have roots, leaves, and flowers while the
latter are inorganic. It refers to the art or method of adding different elements to objects in order to make them more
beautiful. It is often used to indicate the finished product. Thus, an artist working on the "decoration" of a vase may depict
ornament on it and the ornament becomes the vase's "decoration." (Dave, Dushyant 2017: 30) Geometrical lines, ornament,
natural foliage, artificial objects, animals, and the human figure are the components of decoration.

Motifs have implied a significant role in the designing of jewellery. Artisans and craftsmen have always figured
out how to typically express their unique thoughts. Motifs have dependably been a main motivation in designing jewellery.
Floral and natural motifs are generally utilized as an inspiration by every era. A skillfully created piece of adornments can
be embellished by various aspects of nature such as an animal in flight, sprouting blossoms, butterflies, bugs or fish. Such
ornaments remain in trend, never appearing to go out of style.

To the south Indian goldsmith (tattan or achary), nature was a never-ending source of inspiration and animal
motifs have often been common. Individual pieces of jewellery took not only their design from nature but also their names.
Motifs drawn from temple architecture and sculpture were incorporated into jewellery design. Many of the south Indian
ornaments are narrative in character. Forms and compositions were closely associated with the many myths and legends
associated with the lives of the gods and goddesses due to their rich symbolism and iconic character. (Krishnan Usha,
Kumar Meera, 1999: 107).

Symbols from daily life whose meanings were part of the people's colloquial language were often used in pattern.
Birds, animals, and fantastic creatures were used as "symbols of the omnipresent forces of nature and imagination that are
used as defenders and guardians of religious faith" as were seeds symbolizing fertility and rebirth, flowers symbolizing
beauty and perfection of form, geometric diagrams (yantras) invoking supernatural powers and protection against evil
spirits. While many of these forms have survived, unchanged, others have undergone subtle changes, their forms so
stylized that their source of inspiration is no longer discernible. Therefore, in the Indian way of things, a jewel was not a
mere ornament. The constituent elements like gold and gems elevated it to a metaphysical realm.

In certain ways, the magical allure of ornaments was aided by the shapes and designs of jewellery. Kundala, ratna
kundala, sitahar, kanchanmala, mohanmala, kinkini, tiru-makaram to name a few evokes visions of beautiful flowers, the
bounty of nature and the tinkling music. Not only was the form drawn from nature, but all that was inherent in the form
was ascribed to the finished ornament; its beauty, its delicacy, its fragrance, its strength and power, its ability to deflect
danger, give courage, convey valor, and provide protection (Krishnan Usha, Kumar Meera, 1999: 241).

Flora and fauna are an inseparable aspect of Indian jewellery design. The use of mythical winged creatures and
aquatic animals in three-dimensional jewellery forms dates to the early monuments of Bharhut and Sanchi. Such images
were also used to decorate belt buckles, necklace pendants as terminals and in bracelets. The composite creature (yali),
demon face (kirtimukha), and crocodile (makara) forms are essential elements of jewellery design, particularly in south
India. Incorporated from design in sculpture and architectural friezes, they are often repeated. Other popular animal motifs

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56 Dr. Gomathi Gowda & G. Lenin Babu

include the peacock, the bull, the elephant, the lion, the parrot, the snake and the royal double-headed eagle and the goose
or swan to name a few. (Krishnan Usha, Kumar Meera, 1999: 244) Animals have always been popular and traditionally,
were believed to imbue their wearers with characteristics associated with the creatures when worn as lucky charms.
Sometimes, a favorite animal can be traced back to the brand’s history or significance in a certain period of the founder’s
life.

The peacock is a common motif in South Indian jewellery because of the bird's beauty and elegance. The peacock
motif can be used in a variety of ornaments and adds a graceful touch. It is the vahana (vehicle) of Kartikeya, the God of
War, victory, devotion, and knowledge in South Indian mythology. The peacock, which is known for spreading its
plumage at the start of spring also has a symbolic meaning: it represents the blossoming of love.

The parrot is associated with Lord Kama, the god of love, in Hindu mythology. Parrots are thought to reflect
vitality and desire. The bird is a popular motif in South Indian temple architecture and it is frequently used by artists and
jewellers.

The Matsya, Lord Vishnu's very first avatar, saves Manu, who is considered the founder of mankind in Hinduism,
by steering his ship through a great deluge as a giant fish. Manu starts life anew after the deluge had passed and he
propagates the human race. As a result, the fish is regarded as a symbol of rebirth and is adopted in the art of jewelry for all
kinds of adornments.

The elephant represents unrivalled power and grace. It represents the energies of patience, insight, and
contemplative meditation. The elephant is associated with royalty, wealth, and fertility. The physical strength and the
endurance of the elephant is taken as an inspiration by the craftsmen and used elaborately for neck ornaments studded with
precious stones, earrings, finger rings, and as waist and head ornaments.

The symbol of the state of Karnataka features the mystical bird of Gandabherunda. The name is a combination of
the words ganda, which means "mighty" and bherunda, which means "two headed." To slay the demon Hiranyakashipu,
Lord Vishnu assumed the form of Narasimha (half man, half beast). The benevolent gods, on the other hand, started to be
afraid of this avatar's omnipotence. As a result, they prayed to Lord Shiva. Shiva then transformed into the legendary bird
Sharabha and tamed Narasimha (Lion-Man). Vishnu then assumed the form of Gandabherunda and confronted Sharabha.
As a result, Gandabherunda became recognised as a sign of immense strength. This mighty legendary bird was later
adopted as a symbol. The jewellery craftsmen have used the motifs through ages and had been a prominent motif in the
traditional Indian jewelry especially in south India.

Human mind had developed a deep sense of beautification from very early period. The fascination and the charm
of jewels are deep rooted inside the core of his being. The love of jewels is not to demonstrate the power and status but
also to express his emotion, love, desire, superstition, religions, and devotion. The concept of beauty is very much
associated with nature, with man and God. It has a spiritual aspect as well. Adornment became necessary for the
beautification and the love of jewelry is of prime interest from the ancient time. Jewellery becomes naturally an aid to
beauty. Nature beautifies all its creations.

Birds and animals like the parrots, peacocks, elephants, tigers, snakes, and even legendary animals like makara
and yali was transformed into motifs. Bangles and bracelets with animal head terminals are thought to have been brought
to India by Greek craftsmen who travelled along with Alexander, the Great. The motifs influenced by the flora and fauna

Impact Factor (JCC): 4.7084 NAAS Rating: 2.90

Representation of Fauna in Indian Jewellery 57

have been popular with people not only in India but around the world and still mesmerizes men and women alike. The
inherent desire for self-adornment has kept the art of jewellery alive in its most refined ways combining designs from
nature to abstract designs. These aesthetic designs charm humans from all time in order to suit their appearance and
psychology for a beautiful existence.

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