Tinge Of Precious Gold
Although the climate of the region of Bangladesh has made the preservation of artefacts difficult, statues of female bodies decorated from head to foot with jewellery have been found in the ruins of Mahasthan, and dated to the second century B.C. The complexity of decoration suggests the existence of skilled jewellery artisans at the time.
The fifth and sixth centuries yielded stone jewellery moulds in Shahebganj, India, and gold ornaments in Godagari, Rajshahi.
Poetry from the eighth to the thirteenth centuries A.D. describes the ornate nature of jewellery from the Pala-Chandra-Sena ages: various pieces were worn from the nose to the waist to the ankle, both by the rich and the poor. Poorer people, who could not afford precious metals, used materials as diverse as seeds and tiger-claws.
The Mughal period of opulence saw the development of the minute intricacy of 'mina', the increased use of jewels, and the delicate art of lacy filigree. The Islamic influence of the empire also pushed the artisans' focus from human figures to geometric and floral motifs.
The arrival of the Europeans, and subsequent theft of gems, caused a shift back to plainer gold jewellery, and as gold also began to drain out of the region, to silver.
European influence, while bringing in simpler styles, also resulted in an added glitter to adornment: the artisans learned foreign techniques of cutting and polishing jewels and metals. Interestingly, this was also the period when men gave up wearing jewellery, which had previously served as a beautiful symbol of status.
Some of the forms of the past can be traced to the jewellery of the present. While lighter, less ornate designs have become popular as more and more women work outside the home, ancient styles and motifs reappear in traditional pieces. However, whether creating the old or the new, jewellery artisans employ traditional methods.
A master craftsman, even while working his craft, gives constant instruction to his apprentice, and uses age-old tools with such care that he can make only one or two pieces a day, and it sometimes takes up to four days to give solid form to a complicated idea.
While the original concept design of a piece is provided by Aarong designers, the artisan has control over the entire remainder of the creative process – a piece is made part by delicate part, and then joined with great skill. All this work often scatters the workshop with so much gold-dust that the buying and selling of artisans' dust is now a separate trade.
The pieces showcased here are mostly 'chiks' and chokers, the designers' inspiration being memories of grandparents and their friends, when these rare pieces were worn with a lot of pride to symbolise social status and eye for uniqueness.
These traditional inspired pieces are now fiercely back in fashion, and embraced as statement jewellery. This vintage style has just emerged and predicted to last a while. Although the pieces here are made in gold and set with pearls, precious and semi-precious stones, they are also available in costume and fashion jewellery, in varied styles.
'Balas' are also in style now, the pieces here are silver balas with 'shonar much karukarjo'. These exquisite pieces are not limited to be worn with traditional outfits only, as they look very retro-fit when paired with skirts or skinnies and heels for a fun lunch or night out.
Silver earrings have always been a special forte in the Aarong jewellery line. The new pieces are just gorgeous where they can be worn alone, leaving the neck and arms bare, to dress up any outfit quickly.
As we approach the year-end which also happens to be the most exciting time of the year as far as fashion is concerned, owning a collection of the right jewellery blends will go a long way in creating unique festive looks.
Do visit your nearest Aarong outlet or Aarong.com to start collecting the pieces that speak to you and your style.
Photo: Sazzad Ibne Sayed
Model: Maisha
Makeup: Farzana Shakil
Jewellery: Aarong
Special thanks to Aarong for providing the content for the article.
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