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Lot Essay
Rigid armlets with stylised zoomorphic head terminals are well known in India and were made in the North as well as the South. In Rajasthan, they are often seen on circular, gem set enamelled bracelets with the hinged clasp rendered in the form of confronting makara, elephant or tiger heads. Although makara-headed bracelets from Rajasthan were initially worn by men, they are no longer regarded as male jewellery and are now popularly seen on women. Jewellery such as bracelets and anklets were always acquired in pairs and this tradition is prevalent in India even today.
The makara is a mythical creature with a rich symbolism in Hindu mythology. It is often portrayed with its upper half as a terrestrial animal, usually a crocodile incorporating elements of other animals such an elephant’s snout, and its lower half with fish scales and tail. It is considered the vehicle of water-related Hindu deities such as Varuna, the god of the oceans, and Ganga, the river goddess. The makara represents water, the essence of life, and is thus linked with virility, fertility and love. On the other hand, with its demonic appearance, it is sometimes thought of as the destroyer of life. Most surviving examples of makara-headed bracelets in North Indian jewellery are from the 18th and 19th centuries in Rajasthan. A rare Mughal period example can be seen in a painting from the Minto Album, dated circa 1616-17, depicting Prince Khurram wearing makara-headed gold bracelets (Okada, 1992, p.179, no.125). For further discussion on makara-headed bracelets by Henrietta Sharp Cockrell and for examples of other forms, see Moura Carvalho, 2010, pp.250-253.
Our armbands find comparison with other 19th century examples, made in Jaipur or Dholpur, previously in the Al-Thani Collection and sold recently at auction, Christie's, New York, 19 June 2019, lots 160-162. The makara-head terminals on lots 160 and 161 are almost identical to those on our bazubands. The outer rim of lot 162 is decorated in a similar green enamel, the surface set with diamonds. A distinct Jaipur pattern from the 19th century, depicting red enamelled flowers on a white ground, is on the inner surface of the bracelet and on the reverse of our pair. 19th century Jaipur enamelwork often includes a pale powder blue, as seen on the exterior surface of lot 162 and in the central section on the reverse of our bazubands.
The makara is a mythical creature with a rich symbolism in Hindu mythology. It is often portrayed with its upper half as a terrestrial animal, usually a crocodile incorporating elements of other animals such an elephant’s snout, and its lower half with fish scales and tail. It is considered the vehicle of water-related Hindu deities such as Varuna, the god of the oceans, and Ganga, the river goddess. The makara represents water, the essence of life, and is thus linked with virility, fertility and love. On the other hand, with its demonic appearance, it is sometimes thought of as the destroyer of life. Most surviving examples of makara-headed bracelets in North Indian jewellery are from the 18th and 19th centuries in Rajasthan. A rare Mughal period example can be seen in a painting from the Minto Album, dated circa 1616-17, depicting Prince Khurram wearing makara-headed gold bracelets (Okada, 1992, p.179, no.125). For further discussion on makara-headed bracelets by Henrietta Sharp Cockrell and for examples of other forms, see Moura Carvalho, 2010, pp.250-253.
Our armbands find comparison with other 19th century examples, made in Jaipur or Dholpur, previously in the Al-Thani Collection and sold recently at auction, Christie's, New York, 19 June 2019, lots 160-162. The makara-head terminals on lots 160 and 161 are almost identical to those on our bazubands. The outer rim of lot 162 is decorated in a similar green enamel, the surface set with diamonds. A distinct Jaipur pattern from the 19th century, depicting red enamelled flowers on a white ground, is on the inner surface of the bracelet and on the reverse of our pair. 19th century Jaipur enamelwork often includes a pale powder blue, as seen on the exterior surface of lot 162 and in the central section on the reverse of our bazubands.