This length-adjusting feature attributing to it the ability to dually adjust its proximity sometimes to the neck’s roundness and at other times to the breasts – a dually functioning ornament competent to enhance equally the beauty of the two most fascinating parts of a female figure : the neck and the breasts, has been inherited from another style of neck-ornament that classes in the jewellery tradition as ‘adjustable choker’ – an exclusive neck-ornament. Structurally, this necklace consists of two broad parts, one, the main body, a rhythmic chain of sixteen silver frames, each holding a malachite bead, seven on either side, and other two, forming the part of the eight petalled floral motif : the necklace’s central feature, consisting of the same silver frames and beads, and one on the bottom of the floral centre suspending like a tiny pendant.
The number eight, forming an octagon, is believed to possess great mystic powers, sometimes believed to measure time and thus representing timelessness for under Indian astronomy the day and night : the time’s ultimate measurement, are divided into eight ‘praharas’ – a unit of time, each measuring three hours, which this necklace commands. It assures to the wearer a longer tenure of life, and at other time, eight is believed to represent eight forms of the goddess, the divine female, the source of ultimate energy.
Cast to the actual size of the beads which are uniform the silver frames that comprise the main body of the necklace are chained together using tiny ring-type connectors under them. These ring-connectors, concealed from the sight, afford to the necklace a certain degree of flexibility with which the ornament surges with mild rhythm along each breath and more so when the wearer’s breasts heave under labour, the love’s or otherwise. The other part of the necklace consists of a chain in two parts, one on either end of the main body of the necklace, that on the right end consisting of six precisely cast small rings attached to each other with as beautifully cast connectors, and that on the left, of seven as beautifully cast tinier rings linked mutually with the same style of connecting loop-rings as on the right. This part of the chain has been provided at its end with a holder to lock the two ends, into either of the six rings for adjusting the necklace’s length.
This description by Prof. P.C. Jain and Dr. Daljeet. Prof. Jain specializes on the aesthetics of literature and is the author of numerous books on Indian art and culture. Dr. Daljeet is the curator of the Miniature Painting Gallery, National Museum, New Delhi. They have both collaborated together on a number of books. .