The Cleveland Museum of Art (spacer)
Special Exhibitions
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Jeweled Arts of India
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"Treasury of the World"

Highlights of The al-Sabah Collection

Explore The Jeweled Arts of India


Katar Dagger and Scabbard
Katar Dagger and Scabbard
LNS 222M
Blade of jawhar steel; hilt gold over an iorn core, champleve-enameled; scabbard wood overlaid with green velvet with silk and metal thread trimming; chape of gold, champleve-enameled en suit with the hild
Length of dagger 438 mm; width 91 mm; length in scabbard 468 mm; length of chape 32 mm; width of chape 14 mm
India, probably Mughal, 2nd quarter 17th century AD
Photography by Bruce M. White

Developments in Enamels

One of the most distinctive features of the jewelry arts of the Indian subcontinent in the Mughal and subsequent periods (16th to 19th centuries) is the lavish use of enameling. Yet, neither India nor neighboring lands (notably Afghanistan and Iran) had preexisting traditions in this art; it was introduced to the Indian subcontinent from Europe in the 16th century.

Considerable numbers of European jewelers were employed in India during the Mughal period, and they were the vehicle for the transfer of European jewelry arts traditions, including enameling, to India. This phenomenon occurred first in western India and the Deccan but had spread throughout the Mughal Empire by the late 16th century. European jewelers were still being employed under the Mughal emperor Aurangzeb (reigned 1658-1707) in the second half of the 17th century.

The array of Mughal-period enameled pieces in the exhibition demonstrates the adaptability, fidelity, and originality of the subcontinent's jewelers. They took to enameling with great aptitude, preserving the high technical standards necessary for the production of such enamels as the fine whites and the splendid but tricky ruby red and creating a bewildering array of original and distinctive styles and schools that are still imperfectly understood.


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