Indian jewellery through the ages reflects centuries of cultural exchange, royal patronage, temple traditions, and regional craftsmanship. Shaped by trade routes, courtly migration, and ritual needs, jewellery techniques such as kundan, polki, meenakari, temple jewellery, and jadau evolved by absorbing foreign influences and transforming them into distinctly Indian forms. Worn by royalty, temple deities, and communities across regions, Indian jewellery continues to serve as adornment, cultural identity, and living heritage.
Jewellery details of Raja Ravi Varma’s painting “Swarbat Player” (Image source: Wikimedia Commons)
Indian jewellery has never been an isolated tradition. It is a living archive of cultural encounters and exchanges. Traders, kings, pilgrims, and artisans brought with them metals, stones, techniques, and aesthetics, which were absorbed, reimagined, and made unmistakably Indian.
From Mughal courts to temple corridors, from desert workshops to royal ateliers, Indian jewellery traditions reflect how global influences were refined through local skill, ritual need, and an extraordinary command over craft that is unique to the subcontinent. Below is a cultural and stylistic journey through some of India’s most significant jewellery techniques, each shaped by external contact and perfected within the subcontinent.
At the Bazaar by Jean-Joseph Benjamin-Constant (Image source: Wikimedia Commons)
Indian jewellery traditions did not emerge in isolation. They evolved along routes of movement, exchange, and patronage. For centuries, the Indian subcontinent functioned as a central node in global trade networks, allowing jewellery techniques from distant regions to arrive, interact, and evolve locally.
From early antiquity, India stood at the crossroads of land and sea trade networks that connected Central Asia, Persia, the Mediterranean, Southeast Asia, and China. These routes carried far more than goods. Along with gemstones, metals, and pearls came metalworking knowledge, aesthetic preferences, and symbolic forms that influenced how jewellery was made and worn.
The Silk Route brought gemstones, metalworking knowledge, and nomadic aesthetics into northern India. These influences shaped early gem-setting practices, encouraging the use of raw stones, foil-backed settings, and forms that emphasised material presence rather than precision cutting.
Maritime routes across the Arabian Sea and Bay of Bengal carried pearls, coral, enamelling techniques, and goldsmithing traditions to western and southern coasts. Coastal workshops adapted these techniques to local tastes, ritual requirements, and available materials, embedding them into regional jewellery cultures.
Courtly migration played an equally important role. When empires shifted, artisans moved. Persian and Central Asian craftsmen found new homes in Mughal ateliers. Deccani courts absorbed Iranian aesthetics. Regional kingdoms offered patronage that allowed these techniques to be reworked through local materials, ritual needs, and taste.
What distinguishes Indian jewellery is not the foreign origin of many techniques, but the way they were transformed. Techniques were absorbed, ritualised, and embedded into social life. Over time, they stopped being imported and became native languages of adornment.
Indian jewellery is shaped as much by technique as by stone or metal. These methods, perfected over centuries, reflect regional knowledge, cultural exchange, and a deep understanding of form, symbolism, and wear.
The following jewellery traditions illustrate how technique, material, and meaning came together across different regions of India. Each reflects a distinct historical journey where external influence met local innovation, resulting in forms that continue to define Indian jewellery today.
The term kundan is used for highly refined or purified 24 karat gold. It refers specifically to gold that has been purified to an exceptionally soft state, allowing stones to be set without prongs. Kundan jewellery traces its roots to the Rajput and Mughal courts, influenced by Persian and Central Asian gem-setting traditions and Indian gold work techniques. Over time, kundan evolved distinctly in Rajasthan, where it became deeply associated with royal and ceremonial adornment.
Kundan involves setting uncut gemstones into highly refined gold foil. The stones are held in place without prongs, using softened gold that is pressed around each gem. The reverse side is often finished with meenakari enamel, making the ornament complete from every angle.
Kundan jewellery was sustained primarily by Rajput and Mughal courts, where queens and noblewomen wore elaborate sets as markers of lineage and political alliance. These ornaments were often heirlooms, passed from one generation of women to another, functioning as both adornment and stored wealth. Later, elite merchants adopted kundan styles, and it remained a symbol of abundance.
Kundan jewellery demands space and poise. It works best with solid-coloured silks, velvets, or handwoven textiles. For contemporary styling, a single kundan necklace worn with a sharply tailored sari or a structured blouse allows the jewellery to remain the focal point.
The word polki is derived from a regional term used to describe flat, uncut diamonds. Unlike faceted stones, polki refers specifically to diamonds left in their natural form, retaining irregular edges and organic surfaces. Polki is often mistaken for kundan but has a distinct lineage. Diamonds from Golconda found their way into court jewellery, and Bikaneri artisans developed settings that honoured the stone’s natural form.
Polki uses flat, uncut diamonds set in gold, usually backed with foil to enhance brilliance. Unlike modern faceted diamonds, polki stones interact with light softly and irregularly, producing depth rather than sparkle.
Polki found its strongest patronage among royal households once uncut diamonds became symbols of imperial prestige. Court women favoured polki for ceremonial occasions, while rulers used it to display access to rare stones and skilled artisans.
Polki pairs effortlessly with modern silhouettes. It complements ivory, black, and muted pastels. A polki choker with a crisp shirt or an evening gown creates a dialogue between heritage and restraint.
Many Indian jewellery techniques found expression in pendants, which evolved as portable symbols of identity and belief explored further in the history and symbolism of pendants.
Lacquer jewellery derives its name from lac, a natural resin secreted by the lac insect. The term reflects both the material and the process, where softened lac is moulded by hand into ornamental forms. Lac work has ancient roots in South Asia and shares affinities with early Asian resin traditions. In India, the craft flourished particularly in Rajasthan, where artisans developed vibrant bangles and ornaments by colouring and shaping lac through heat and manual skill.
Lac jewellery is created by heating raw lac until it becomes pliable and then moulding it by hand around a base form. While still warm, artisans embed mirrors, glass, beads, or semi-precious stones into the surface. Natural pigments are added to achieve bold colours, which are then polished through repeated manual smoothing.
Lacquer jewellery was shaped largely by local communities rather than courts. Women across Rajasthan wore lacquer bangles daily and during festivals, marriage rituals, and seasonal celebrations. Its accessibility made it popular, vibrant, and culturally enduring.
Lacquer jewellery thrives on colour and movement. Stack bangles across both wrists or pair bold lacquer earrings with cotton sarees, handloom textiles, lehengas or minimalist outfits to allow its warmth and immediacy to everyday wear.
The word "meenakari" comes from the Persian term "mīnū," meaning paradise. The suffix kari denotes craftsmanship or work. The name directly refers to the art of putting heaven on a surface through artistry. Meenakari enamelling arrived in India from Persia during the Mughal period. Jaipur became its principal centre, supported by royal patronage and an appetite for colour-rich ornamentation.
Meenakari is created by engraving fine designs onto metal and carefully filling these spaces with powdered glass colours. The piece is then heated so the glass melts and fuses permanently with the metal. This process is repeated until the colours become rich, smooth, and lasting, forming detailed floral or geometric patterns.
Meenakari flourished under royal patronage, especially in Jaipur, where kings encouraged colour-rich ornamentation. Court women wore meenakari jewellery for festivals and private ceremonies, valuing its hidden enamelled surfaces as symbols of refinement.
Meenakari jewellery shines when colour is allowed to breathe. Wear it with monochrome outfits, solid-coloured sarees or heritage textiles with minimal patterning. Earrings, pendants, and cuffs function particularly well as statement accents, adding depth and warmth without overwhelming an ensemble.
Temple jewellery takes its name from its original function rather than a linguistic root. The term refers to jewellery created specifically for adorning temple deities, making the sacred space its first home. Temple jewellery developed within South Indian temple economies. Initially crafted to adorn deities, it later entered human adornment through classical dance traditions and ceremonial wear.
Typically cast in gold or gold-plated silver, temple jewellery features repousse work depicting gods, goddesses, mythical creatures, and sacred motifs. Red and green stones are commonly used, chosen for symbolic resonance rather than brilliance.
Temple jewellery was originally commissioned by temple authorities and royal donors to adorn deities. Over time, it became inseparable from classical dancers, who preserved its form and symbolism through performance traditions.
Temple jewellery carries weight and sanctity. It pairs best with silk sarees, especially Kanjeevaram or handloom weaves. Keep other accessories minimal to preserve their ritual presence.
Many jewellery traditions also carried ritual significance, with specific ornaments worn for devotion, protection, and spiritual alignment, a practice still reflected in sacred jewellery in Hindu tradition.
Brooch decorated in Thewa style, from Rajasthan, 19th century (Image source: MET Museum)
The term thewa is derived from a Rajasthani word meaning to embed or fix. It refers to the technique of fusing gold relief onto coloured glass, rather than to a specific material. Thewa is a rare craft practiced exclusively by a hereditary artisan family in Pratapgarh, Rajasthan. It reflects Mughal influences fused with local storytelling traditions.
Thewa jewellery is created by fusing intricate gold relief designs onto coloured glass using controlled heat. Artisans first handcraft a fine gold sheet, piercing and shaping it into detailed motifs. The motifs often depict mythological scenes, courtly life, or floral patterns.
Thewa jewellery was historically patronised by Rajput courts and elite households in Rajasthan. Its narrative quality appealed to patrons who valued jewellery as storytelling rather than ornament alone. Pieces such as pendants, brooches, and buttons were often commissioned as gifts or ceremonial adornments.
Thewa jewellery functions best as a focal piece. Wear them as pendants, brooches or statement cuffs with simple, neutral outfits. Avoid layering with other statement jewellery its strength lies in uninterrupted visual storytelling. Let the storytelling remain uninterrupted.
Jadau comes from the Hindi word jadna, meaning to embed or set. The name refers broadly to the technique of embedding stones into gold without soldering. Jadau is a broad category encompassing hand-set jewellery developed under Mughal patronage. It absorbed influences from Islamic gem-setting traditions and adapted them to Indian aesthetics.
Jadau jewellery involves embedding gemstones into gold using lac as an adhesive base, without soldering. Kundan and polki fall under the jadau umbrella.
Jadau emerged under Mughal patronage and remained a courtly form for centuries. Royal women wore jadau as ceremonial jewellery, while its techniques later filtered into regional aristocratic and merchant communities.
Jadau jewellery is best reserved for ceremonial or statement occasions. Balance it with clean silhouettes and avoid excessive layering to maintain elegance.
Courtly techniques such as kundan and jadau later became central to Indian bridal jewellery traditions, especially within the ritual framework of solah shringar.
Navaratna literally means nine gems in Sanskrit. The name refers to a prescribed set of nine gemstones associated with celestial bodies in Indian cosmology. While gemstones travelled from across the world, India developed a symbolic framework that assigned celestial meaning to nine specific stones.
Navaratna jewellery is defined less by a specific craft technique and more by symbolic arrangement. The nine gems are set in prescribed combinations, traditionally in gold, following astrological alignment.
Navaratna jewellery was worn by kings, priests, and householders alike. Rulers adopted it for cosmic legitimacy, while families wore it for protection and balance. Its appeal crossed class boundaries due to its symbolic rather than decorative value.
Navaratna pieces are most powerful when worn intentionally. Rings or pendants work well for daily wear, while necklaces work best as focal pieces. Pair navaratna ornaments with understated clothing that respects the symbolism.
Cuttack Tarakashi Earrings and Pendants (Image source: Wikimedia Commons)
The term Tarakashi comes from two Sanskrit-rooted words: tara, meaning wire or thread, and kashi, meaning to draw or shape. Together, Tarakashi refers to the craft of drawing extremely fine metal wires and shaping them into delicate, lace-like patterns.
Unlike the European term filigree, which describes the appearance of the work, Tarakashi describes the process itself. It emphasises the act of pulling, twisting, and assembling fine silver or gold wires into intricate forms. Tarakashi arrived in India through Mediterranean and Middle Eastern metalworking traditions. Odisha, particularly Cuttack, refined it into an art of extraordinary delicacy.
Extremely fine metal wires are twisted, shaped, and soldered into lace-like patterns. The work requires immense patience and precision. Motifs often include flowers, vines, spirals, and geometric lattices. Silver is the most commonly used material, valued for its malleability and luminous finish.
Goddess Durga and other mother goddesses in eastern India are the divine patrons of Tarakashi jewellery. The tradition also found patronage among temple institutions and regional elites in Odisha. Women wore it during rituals and festivals, valuing its delicacy and the skill it represented.
Tarakashi jewellery complements soft fabrics and fluid silhouettes. Earrings, pendants, and bangles pair especially well with linen sarees, muslin, and contemporary drapes. Its airy construction makes it suitable for statement wear without heaviness, allowing craftsmanship to take visual precedence.
The word pachchikam is believed to derive from regional terminology referring to raw or unrefined settings, emphasising its rustic, unfinished aesthetic. Pachchikam is one of India’s oldest jewellery forms, predating refined gold techniques. It reflects a time when ornamentation was raw, symbolic, and deeply connected to pastoral life.
Pachchikam jewellery is typically crafted in silver rather than gold. Uncut stones and glass are set in silver using natural adhesives. The finish remains intentionally rustic. The technique allows for flexibility and repair, making pieces practical for daily wear and movement.
Pachchikam was worn primarily by pastoral and merchant communities of western India. Women used these pieces as everyday adornment and as portable wealth, reflecting a practical relationship with jewellery.
Pachchikam works well with modern minimalism. Pair a bold necklace with a plain dress or kurta for contrast and texture. The rawness of pachchikam allows it to function as a bridge between historical craft and contemporary design sensibility.
Bidri jewellery takes its name from Bidar, the town in present-day Karnataka where the technique developed. The name reflects geographic origin rather than material. Bidriware developed in the Deccan under Persian influence, particularly in Bidar. While known for vessels, the technique also found expression in jewellery.
Bidri jewellery is crafted from an alloy primarily composed of zinc and copper and oxidised to achieve a deep black finish. Motifs often include floral patterns, geometric forms, and calligraphic influences, reflecting Persian decorative sensibilities interpreted through Indian craftsmanship.
Bidri jewellery developed under Deccani court patronage and later found favour among elites who appreciated its restrained contrast of black metal and silver. Both men and women wore Bidri ornaments, including pendants, rings, and buttons.
Bidri jewellery pairs well with monochrome outfits. Black, ivory, and muted jewel tones allow the silver inlay to stand out. A single Bidri pendant or pair of earrings works best as a focal accent, offering visual depth without excess ornamentation.
Today, many of these techniques are reinterpreted through minimalist silhouettes and everyday wear, as seen in modern approaches to stylingIndian stone jewellery.
Victorian jewellery takes its name from the Victorian era in Britain, corresponding to the reign of Queen Victoria in the nineteenth century. In the Indian context, the term refers not to direct European replication, but to a hybrid style that emerged when European aesthetics met Indian craftsmanship and gem traditions.
Victorian jewellery entered India during the colonial period, primarily through British officials, royal alliances, and cosmopolitan port cities such as Calcutta, Bombay, and Madras. Court jewellers in Indian princely states reinterpreted Victorian design sensibilities through Indian materials, stones, and techniques. What emerged was Indo-Victorian jewellery, where Western forms were softened, enriched, and layered with Indian opulence.
Victorian jewellery in India is characterised by the use of rose-cut and old-mine cut diamonds, silver-topped gold settings, and intricate metalwork. Unlike European Victorian jewellery, Indian versions often incorporated polki diamonds, coloured gemstones, and traditional jadau techniques. The emphasis shifted from restraint to richness, blending Western structure with Indian exuberance.
Indo-Victorian jewellery found patronage among Indian royalty, especially in princely states that maintained close relationships with the British crown. Maharajas and royal women commissioned pieces that reflected modernity while retaining cultural identity. These jewels were worn at durbars, court functions, and diplomatic events, signalling both global awareness and rooted authority.
Victorian jewellery lends itself beautifully to evening wear and formal ensembles. It pairs well with structured saris, velvet blouses, tailored jackets, and contemporary gowns. To style it with sophistication, allow one statement piece to dominate. A Victorian diamond necklace or brooch works best against dark hues, minimal embroidery, and clean silhouettes, allowing the historical craftsmanship to speak with quiet confidence.
Every piece of fine Indian jewellery carries hours of handwork and generations of knowledge. Thoughtful care ensures that this artistry remains intact, allowing the jewellery to be worn, remembered, and passed on.
Always put on jewellery after skincare, makeup, and perfume. Alcohol, oils, and sprays dull stones, weaken enamel, and stain settings. At the end of the day, remove jewellery before changing clothes to avoid accidental pulls.
Delicate techniques such as meenakari, jadau, tarakashi, and thewa rely on fine joins and hand-set elements. Avoid tugging chains, bending bangles, or stacking heavy pieces together, as repeated stress can loosen stones and deform metal.
Remove jewellery before bathing, swimming, exercising, or cooking. Moisture and heat can damage enamel, soften lac settings, tarnish silver, and weaken thread or adhesive-based constructions.
Store jewellery in a clean, soft-lined box or pouch, with each piece separated to prevent scratching or entanglement. Avoid humid spaces. For necklaces and long strands, lay them flat rather than hanging to prevent strain.
After wearing, wipe jewellery with a clean, soft, dry cloth to remove oils and residue. Avoid abrasive sprays, ultrasonic cleaners, or chemical dips, especially for antique, enamelled, or uncut stone jewellery.
Repairs should always be entrusted to skilled artisans familiar with the original technique. Machine polishing or untrained repairs can erase fine detailing, remove gold foil in kundan, damage enamel, or permanently alter form.
Beyond court and temple contexts, many forms evolved as traditional Indian jewellery pieces worn daily, especially by women across regions and communities.
Every stone set, every motif repeated, every technique preserved carries thousands of stories. Stories of lineage and belonging, of protection and celebration, of continuity and change. It holds memory, speaks through symbols, and allows history to be worn, remembered, and passed on.
🔸Indian jewellery is a cultural record, shaped by trade routes, royal courts, temple economies, and regional traditions over centuries.
🔸Techniques evolved through transformation, not imitation foreign methods were absorbed, ritualised, and made distinctly Indian.
🔸Royal patronage played a defining role, refining techniques like kundan, polki, jadau, and meenakari within court ateliers.
🔸Temple and community use sustained continuity, ensuring jewellery traditions lived beyond elite circles.
🔸Each technique reflects material intelligence, combining stone, metal, symbolism, and wearability.
🔸Indian jewellery balances symbolism and adornment, serving ritual, identity, protection, and aesthetics simultaneously.
🔸These traditions remain living practices, adapted for contemporary wear while preserving historical meaning.
Indian jewellery is known for its intricate craftsmanship, symbolic meaning, and regional diversity, shaped by royal courts, temple traditions, and centuries of cultural exchange.
Indian jewellery techniques developed through trade routes, migration of artisans, and royal patronage, absorbing foreign influences and transforming them into indigenous craft traditions.
Kundan and polki refer to specific stone-setting styles, while jadau is the broader technique of embedding stones into gold without soldering, under which kundan and polki fall.
Temple jewellery originated as adornment for deities and later became central to classical dance and ceremonial wear, preserving sacred symbolism and craftsmanship.
Techniques such as kundan, meenakari, polki, temple jewellery, navaratna, and tarakashi are still practiced and adapted for contemporary use.
Foreign influences from Persia, Central Asia, and Europe introduced materials and techniques that Indian artisans refined to suit local aesthetics, rituals, and social life.
While traditionally worn during rituals and ceremonies, many Indian jewellery forms are now styled for everyday and contemporary wear without losing cultural meaning.
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