Taxila Jewellery

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कलाकृतियों का अवलोकन

कलाकृति में अंदर या बाहर ज़ूम करने के लिए आगे या पीछे की तरफ स्क्रॉल करें |

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मुख्य गैलरी तक पहुंचने के लिए एरो पर क्लिक करें |

मुख्य मेनू प्राप्त करने के लिए फुटर में दिए गए एरो पर क्लिक करे |

The exhibition title 'Hiraṇmaya: Gold ornaments from Takṣaśilā' is derived from the word hirṇya ‘gold’ and maya ‘filled or made with’. Hiraṇmaya extrapolates the presence of gold which laces every artefact in the exhibition. In aesthetic terms, hiraṇmaya expresses the state of the beholder brimming with the exquisite beauty and intricate detailing on the gold ornaments displayed in the exhibition. The finest of the twenty-five gold ornaments from Takṣaśilā (Taxila) in the jewellery collection of the National Museum, New Delhi are showcased in this exhibition to reflect the pinnacle of gold craftsmanship dating back to 1st century BCE to 1st century CE, India.

As a homage to Taxila and its splendid sculptural heritage, especially of the divinely bejewelled Bodhisattva figures carved impeccably in black schist stone, the delicate gold ornaments are displayed against the black schist colour as an ode to the schist and the gold carvers of Taxila. However, cautiously shifting the locus from schist to gold, the exhibition is envisioned as an adorned body evoking the spirit of gold artistry! Each wall in the exhibition is dedicated to a body part and the exhibits progress in the sequence of ‘head to toe’ offering insights into how sophisticatedly the hair, ears, neck, hands and waist were adorned. This jewellery spurs us to imagine how the art of adornment was perfected in the ancient times.

The artefacts from Taxila have often been exemplified as characteristic of the Greco-Roman influence, however the prominent Indian features of the jewellery findings have been largely overlooked till now. The title wall, at the centre of the exhibition, emphasises the predominantly Indian motifs of the two swastikas and a ‘vase of plenty’ or the purnaghat as crucial findings that highlight the unbroken tradition and continuity of adornment, and a deep-seated symbolism in the design elements that continue to thrive as auspicious symbols in India even today. The multifarious aesthetic sensibilities in the jewellery findings of Taxila reaffirm its place as a melting pot of multiple contemporaneous cultures of the period.

The ornaments in the exhibition elucidate the design, technology and the art of jewellery making that proliferated in ancient Taxila a hundred years before the common era. The meticulous craftsmanship in the rendering of a variety of beads and precious stones, designs, motifs and patterns, sophisticated clasps and lapidary arts, minute engravings, repousse and enamelling make every exhibit awe-inspiring. From the minutest of the bead to the strikingly sized ornaments, Taxila once must have bloomed in gold which the exhibition endeavours to relive.

Takshila hindi

Photography:

S.P. Dev

Photographer

Rakesh Kumar

Photographer

Suresh Mahto

Photographer

Rajnish Kumar Raj

Photographer

Rohit Singh

Photographer

Special Thanks:

Dr. S. Naqi Abbas (Kaify)

Consultant, Manuscripts, National Museum, New Delhi

Dr. P. Phanesh Babu

Consultant, Central Asian Antiquities, National Museum, New Delhi

Dr. Thoudam Regina

Assistant Professor (Zoology Department), Gargi College, Delhi University

Ruhi Priya

Research Scholar, History of Art Department, National Museum Institute

Sushmit Sharma

Deputy Curator, National Gallery of Modern Art, New Delhi

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