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Decorative Art of Mughal India

The Mughal empire is one of the most resplendent Islamic dynasties in history. Renowned for majestic palaces and mausoleums, its legacy of grandeur is visible even on a minute scale. Mughal emperors, devoted patrons of the arts, were also renowned as connoisseurs of jewels. This was especially apparent in the 17th century, during the reign of Jahangir and subsequently his son Shah Jahan. The riches of the Mughal empire were noted in 1616 by Sir Thomas Roe, England's ambassador to the Mughal court. He wrote of Emperor Jahangir: "In jewels, he is the treasury of the world." Indeed, precious stones were to adorn every facet of Mughal court life, from weapons to cutlery, architectural elements to personal adornments.

Among the most significant developments in the art of Mughal jewellery was the kundan technique, which employed the use of hyper-refined gold that could be manipulated by handheld tools and fused at room temperature Dessert-Wine-Guide . The technique made it possible for artisans to apply diamonds, rubies and emeralds not only to items like necklaces, arm bands and turban ornaments, but also to the surfaces of hard stones like jade, chalcedony and rock crystal. Kundan gave Indian jewellers complete artistic freedom, allowing them to express their visions and produce works of unparalleled opulence.

Given India's long-standing sculptural tradition, hard stones themselves were carved into sophisticated items such as jewellery boxes, seals, dagger hilts and archer's rings. These served both ceremonial and utilitarian functions in affluent society. The virtuosity in valuable hard materials certainly did not end there. Cabochon and faceted gems like emeralds, rubies and spinels were also carved, typically with inscriptions marking a Mughal ruler's ownership. Pietra dura, a type of stone marquetry, was another form of ornamentation in precious materials favoured by the Mughals. The technique, which originated in Florence, gained popularity in India during the 17th century. Interpreted in the local style, it yielded graceful renditions of floral and foliate motifs, which can still be viewed today in the Taj Mahal.

Skilled in coaxing precious materials into pleasing forms, it comes as no surprise that Mughal artisans were also adept at working gold and silver. Excelling in the application of a wide range of techniques, including engraving, openwork, filigree, repouss and inlay, Indian metalworkers took their craft to new heights of

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