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Meenakari-Enamel work of Rajasthan
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Meenakari is one of the most sophisticated forms of jewelry developed in Rajasthan and North India. It is the art of decorating metal with enameling. The technique has travelled to India during the Mughal times from Persia, during the 17th century. This enameling style had reached its climax at the Persian Court at Isfahan during the Qajar dynasty (1795-1924). Meenakari arrived in Rajasthan, and was brought to Jaipur on Raja man Singh`s (r.1590-1614)behest. Skilled meenakars from the Mughal palace at Lahore were established in Jaipur, which became the center of Meenakari.
Process
The technique of Meenakari suggests the fusion of colored materials such as cobalt oxide for blue and copper oxide for green onto the metal`s surface to suggest precious stone inlay work. The design is prepared and given to the sonar,
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goldsmith, who forms the article. It then passes on to the chhatera who engraves the salai, pattern, onto the gold object using steel styli; the surface of the depressed patterns are serrated to secure the enamel and to increase the play of light and shade in the finished product. Only then does the meenakar, the enameller, apply colors, beginning with those most capable of resisting fire-white is normally applied first, the object is cleaned in a strong tamarind solution and polished.
Meenakari is often studded with gems on one side while the reverse was lavishly enameled, the luster of the enameled reverse increasing over time due to contact with the wearer’s body and clothes. In items that are to be thus ornamented, the meena is done first and the piece then passes from the meenakar to the jadiya, the artisan who undertakes the kundan work and finally to the patua who strings the separate pieces of the necklace or armlet together and adds motis, pearls, beads and tassels. The base metal can be both gold and / or silver.
A large number of jewelry pieces are made by this technique. The guluband of linked pieced with small pendants of fishes is generally worked with diamonds. Haslis with large diamonds are also prepared. A variety of karas with different heads are also made. The magar, crocodile-head kara, is always worked with green enamel as a dominant color, while the elephant-heads with their trunks intertwined are worked in deep blue enamel. The sher mukhi is worked in red, but the pigeons facing each other have a light Chinese blue color as the dominant color, which is combined effectively with red and white. The enameled patterns are so fine and intricate that if they have to be analysed they need to be examined with a magnifying glass.
Varanasi was earlier famous for its pink enamel which had a different technique. In this, the basic form was covered with white enamel after which the patterns were painted in a different color. This was then fired and the colors are fused together, making a permanent pattern.
The most remarkable aspect of the jewelry was that the very intricate Meenakari was prepared on the side which would be visible only to the wearer who derived pleasure from having the most intricate patterns next to the skin.
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