ch5-ancient jwellery-ncert text book
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All of u s en joy decora ting ou r bod ies.
In ancient t imes it was believed that
b e s i d e s e n h a n c i n g i t s b e a u t y ,
d e c o r a t i n g t h e b o d y g a v e i tadditional strength and power. Even
t o d a y m a n y t r i b a l s o c i e t i e s u s e
f l o w e r s , w i l d b e r r i e s , l e a v e s a n d
fea t h e r s fo r t h i s p u rp o s e . F l o wers
a n d fr u i t s c e le b r a t e n a t u r e a n d
growth while feathers are valued for
t h e i r co l o u r an d fo r t h e p o wer o f
f l i g h t . Seed s , ev en wi n g s o f i n s ec t s s u ch a s
colourful beetle wings are used as embellishment
and decora t ion .
One of the oldest forms used in jewellery was
that of a sphere, representing the seed, the bija.Later a range of beads were made from clay, glass,
m e t a l s an d p rec i o u s s t o n es . T h i s s y m b o l i s ed
fertility, growth and the origin of life.
M a n y j e w e l l e r y f o r m s m a d e i n m e t a l
r e p r o d u c e f o r m s o f f l o w e r s a n d f r u i t s .
Champakali is a necklace made of jasmine bud
motifs and is worn throughout India. Karanphul
jhumka is a combination of the form of an open
lotus at the ear lobe and a suspended half open
b u d . Mangai mala is a rich necklace from Tamil
Nadu, with stylised mango forms studded with
rubies. Precious metals such as gold and silverwere for the r ich while the less aff luent used
e ve n b r a s s a n d wh i t e m e t a l. G o ld w a s
associated with the sun, and silver, chandi, with
chandrama t h e m o o n .
In the past when there was discrimination on
the basis of caste, only the upper castes were allowed
to wear gold . This is now changing and those
who can afford it, wear gold and precious jewels.
5 JEWELLERY
Str ings made of di f ferent
types of seeds
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50 LIVING CRAFT TRADITIONS OF INDIA
Mean in g an d Sign ifican ce of J ewellery
In some tr ibal societ ies , each ornament was a symbol of
the rank and status of the wearer, and it was also believed
t o h a v e c e r t a i n m a g i c a l p o w e r s . T h u s , t h e p u r p o s e o f
ornamentation was not only to satisfy an instinctive desire
to decorate the body, i t was also invested with symbolic
significance. This aspect is clearly expressed in the form of
amulets which carry inscribed prayers to protect the wearer
from evil influences. All communities and faiths use this
form of jewellery as protection against harm or to activate
certain posi t ive qual i t ies .
It was with th e establish men t of a s ettled agrarian society
that jewel lery became a form of saving and a symbol of
st at u s. A variety of des ign s in folk jewellery evolved over
the years , and the impor tan t pos i t ion o f the jewel le r in
vi l lage society also points to the fact that jewel lery was
considered as the only form of investment which could be
encashed dur ing an emergency .
It was m an da tory for ma rried women to wear jewellery.
N e c k l a c e , e a r r i n g s , h e a d o r n a m e n t s a n d b a n g l e s w e r e
essen t ia l fo r every marr ied woman . I t was on ly widows
who were deprived of jewellery.
J ewellery for Every Par t of th e Body
Each reg ion in Ind ia has a par t i cu lar s ty le o f j ewel le ry
that is quite distinct. Differences occur even as one goesfrom one village to another.
D e s p i t e t h e v a r i e t y i n j e w e l l e r y p a t t e r n s i n
different parts of the country, the designs in each
region are also at t imes strikingly similar.
Head and Forehead: Women wear the bore resting
upon the part ing of the ha ir in Rajas th an and parts
of Gujarat an d Madhya Pradesh, whereas the t ikka,
a rounded pendant at the end of a long chain which
falls on the forehead, is used throughout India. The
shr ingar pa t t i wh i ch f r am es t h e f ace an d o f t en
connects with the t ikka on the top and the earringsare also used widely. In earlier times men wore the
kalgi, a plumed jewel, on top of the turban.
N o s e : T h e o r n a m e n t w o r n a l l o v e r I n d i a h a s
variations from the simple lavang , clove, to phuli,
the elaborately worked stud, or nath , the nose-ring
worn in the r igh t nos t r i l , and the bulli, the nose
ring worn in the centre just over the lips.
S t r e e d h a n : F r o m V e d i c
t i m e s o n w a r d s , j e w e l l e r y
was counted as a womans
weal th an d comprised a par t
of her inheritance from her
fat h er, as well as a gift from
h e r h u s b a n d .
Ornaments worn by a Bhartanatyam dancer
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51J EWELLERY
Neck: One o f the o rnaments i s the guluband,
which is made up of either beads or rectangular
pieces of metal, strung together with the help oft h read s . A r i b b o n i s a t t ach ed a t t h e b ack t o
pro tec t the neck o f the wearer . Then there i s
the longer kan th i or the bajaithi. Below this is
worn either a silver ch ain or a necklace of beads .
The men would wear a charm or a taw iz a t the
neck and a kantha , a long necklace.
Fingers: For the hands there a re a number o f
r ings . On fes t ive occas ions women wear the
hathphool or ratthan -chowk to decorate the back of the h an d.
Wrists: For the wris ts there is the ka d a , the paunchi, the
gajra an d t h e chuda , which quite often extends six inchesabove the wrist .
Arms: Th e bazoo, the joshan , and the bank are worn above
the elbow. Men wore a heavy ka d a or bangle.
Hips: A series of silver chains formed into a belt are worn
at th e hips an d are generally kn own a s kandora or kardhani,
w hile the men would wear a silver or gold belt.
A n k l e s : S o l i d , h e a v y m e t a l a n k l e t s c o m b i n e w i t h t h e
delicately worked paizebs ending in tinkling, silver, hollow
bel ls , while men would wear a heavy s i lver anklet . Only
royalty wore gold on their feet.
Toes: Th e bichhua , scorpion ring, for the toe is put on by
women at the time of their marriage.
Jew ellery for various
parts of the body
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52 LIVING CRAFT TRADITIONS OF INDIA
Jewellery through the Ages
3 00 01 50 0 BCE Harappan Pe rio d
India has an unbroken tradition of over
five thousand years of jewellery making.
T h e ex cav a t i o n s a t t h e Harap p an s i t e
have uncovered beads and shell bangles.
The shell bangles are exactly similar to
t h e o n e s w o r n b y m a r r i e d w o m e n i n
Ladakh . Gold shee t s shaped in to head
bands were also found.
300 BCE300 CE The richest collection of jewellery was
d i s c o v e r e d i n T a x i l a , a n i m p o r t a n t
Bud dh ist cen tre of learn ing. It was on the
t r a d e r o u t e , a s w e l l a s t h e r o a d f o r
m igra tion of people ent ering In dia. Here
th e jewellery exhibits Greek influ ence a n d
th e introdu ction of new techn ology su ch
as filigree an d granu lation.
I t i s i n t e re s t i n g t o o b s e rv e , h o wev e r ,
t h a t t h e r e a r e m a r k e d s i m ila r i t ie s
b e t w e e n o u r p r e s e n t - d a y j e w e l l e r y
d e s i g n s a n d t h e j e w e l l e r y o f t h e
Su m er i an s an d t h e ea r l y Greek s .
A neck lace excavated a t Ur , which i s
made up of finely designed pendants of
l i o n -h ead s w i t h g ran u l a t ed wo rk , an d
s u p p o s ed t o h av e b e l o n g ed t o Qu een
Bathsheba, has a remarkable likeness to
th e garuda necklace prepared in Kerala.
E a r l y G r e e k j e w e l l e r y h a s a c l o s e
similari ty with some of the t radi t ional
jewellery of Kutch and Saurashtra. The
p a t t e rn s o f s o m e E g y p t i an j ewe l l e ry ,
especially armlets with snakeheads, are
found in India, as well.
4 0 0 C E T h e r e i s a c l o s e s i m i l a r i t y i n t h e
jewellery design of today with those of
e a r l y t i m e s . T h i s w e k n o w f r o m
d e s c r i p t i o n s i n l i t e r a t u r e , a n d i n t h e
depiction of jewellery in sculpture and
pain t ing .
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53J EWELLERY
Th e kanthi, a necklace worn close to
the neck and th e phalakhara, a long
n e c k l a c e c o m p r i s i n g a n u m b e r o f
tablets str u ng with a series of beads ,
i s s een i n t h e ea r l y Gu p t a p e r i o d
and i s found in use even today in
m o s t p a r t s o f N o r t h I n d i a . T h e
chudamani, shaped like a full-blown
lo tus wi th many pe ta l s , was worn
a t t h e p a r t i n g o f t h e h a i r a n d i s
s i m i l a r t o t h e p re s en t d ay bore of
R a j a s t h a n .
In the Ramayana , there is ment ion
of Sita wearing a n i s h ka necklace.
Nishka , a gold coin, is also referred
t o i n t h e J a t a k a s t o r i e s . T h e
t r a d i t i o n o f w e a r i n g o f c o i n
neck laces con t inues .
900 CE The use o f the nose o rnament was
introduced in to India qui te late , as
the ear ly scu lp tu res and mura l s do
n o t s h o w n o s e o r n a m e n t s . It
appears to have been in troduced by
t h e Arab s a ft e r t h e t en t h cen t u ry
a n d , o v e r t h e y e a r s , i t b e c a m e
common al l over India and became
assoc ia ted wi th marr iage .
1 5 0 0 1 9 0 0 The Mughals had fine jewellery and
us ed large precious s tones. J ah an girs
t reasury , descr ibed by S i r Thomas
Roe, an English traveller, had 37.5
k i l o g r a m s o f d i a m o n d s a n d 3 0 0 0
kilograms of pearls and rich jewellery,
o f t en co l o u r fu l en am e l j ewe l l e ry
embedded with precious stones.
1900 onwards W i t h b o d y p i e r c i n g b e c o m i n g
popular in the West , young Indian
m e n a n d w o m e n h a v e b e g u n
piercing not jus t the nose and ear ,
b u t t h e i r t o n g u e , t h e n a v e l a n d
o t h e r p a r t s o f t h e b o d y t o w e a r
jewellery.
About 2 6 per cent
of Indias exports
c o m p r i s e g e m s
and jewels.
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54 LIVING CRAFT TRADITIONS OF INDIA
Though all the hill jewellery of Kullu an d
Kinnaur Districts is made in Hoshiarpur
in H i m a c h a l Pr a d e s h , i t h a s i t s o wn
part icular s ty le . The pipal patra, m ad eo u t o f b u n ch es o f h ea r t - s h ap ed s i l v e r
leaves fastened to an enamelled piece of
silver, is worn in these areas by women
on both sides of th eir ca ps. It fram es th eir
f a c e s w i t h t h e l i g h t s h i m m e r i n g i n
cascades of s i lver . Their necklaces are
f o r m e d o u t o f l a r g e m e t a l p l a t e s ,
engraved with the traditional designs of
t h e r e g i o n a n d f i l l e d w i t h g r e e n a n d
yellow enamel. The most common design
is of Devi riding her lion.
The nose ornaments of Kullu are alsohighly specialised. The large-sized nath
a n d boulak designs of a single leaf are
not to be seen in any other part of
India. On festive occasions they
w e a r a l a r g e n a t h , o f t en
larger than the face
of the wearer.
The belts worn in Andhra Pradesh
have in tr icate clasps of the doublehead of a rakshas or kirtimukha .
Another pattern of a kara, which
i s co m m o n i n An d h ra P rad es h , i s
that of serpent-heads which appear
t o b e h o l d i n g t h e e a r t h i n t h e i r
mouths. The necklaces often derive
their designs from shapes of grains.
The jewellery of Kashmir is quite distinct.
The most important are the ear ornam ents ,
k n o w n a s k a n - b a l l e , w o r n b y M u s l i m
wo m en o n b o t h s i d es o f t h e h ead . T h eyc o m p r i s e a n u m b e r o f r i n g s , w h i c h a r e
a t t a c h e d t o t h e h a i r o r t h e c a p . T h i s
jewellery is also worn in Ladakh and other
H i m a l a y a n a r e a s s u c h a s L a h a u l , S p i t i ,
and Kinnaur .
In P u n j a b , w o m e n w e a r a s p e c i a l
o rnament , chonk. It is cone-shaped and is
w o r n a t t h e t o p o f t h e h e a d w i t h t w o
smaller cones, known as phul, worn at thes ides .
Despite the fact that styles in jewellery have, on
the whole, tended to develop region-wise, we find
that certain distinctive forms have been developed
by specific sections, groups or areas.
Regional Variet ies of J ewellery
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55J EWELLERY
In Assam the tribes patronise silver jewellery, while
in the plains gold jewellery is preferred. The patterns
of gold jewellery are extremely delicate. The jewels,
though few, are finely finished. The earring, known
as thuria , has the form of a lotus with a heavy stem.
T h e s h a p e r e m i n d s o n e o f t h e t r a d i t i o n a l k a m a l
earr ings ment ioned in anc ien t l i t e ra tu re . Thuria is
usually made of gold and studded with rubies in the
front portion as well as at the back.
T h e fo l k j ewe l l e ry o f
Orissa in silver and gold
is r ich in pat terns , forms
a n d d e s i g n s . T h e m o s tp o p u la r t e c h n iq u e i s
f i l i g r e e . T h e t r a d i t i o n a l
fil igree work is robust in
c h a r a c t e r a n d d i s t i n c t
from what is being produced commercial ly today in
Cutta ck. Very few hea d orna men ts a re worn in Orissa .
The accen t i s on a rm jewels , neck laces , nose- r ings
and ank le t s , wi th the f ines t des igns found on nose
o r n a m e n t s . O n e d e s i g n k n o w n a s m a u r p a n k h i, is
crafted like a peacock with open feathers, made with
t h e p r o c e s s e s o f g r a n u l a t i o n ,
fil igree and casting.
In Sambalpur, brass jewellery
is common. Bangles in different
pat terns are pol ished dai ly and
appear to be made of gold.
K e r a l a h a s a v e r y r i c h
variety of gold designs. The
u se of precious s tones is n ot
so common here. Variety is
s e e n m o s t l y i n n e c k l a c e s .
Th e g a r u d a n e c k l a c e
p r o d u c e d h e r e b e a r s
t e s t i m o n y t o t h e f i n e
w or k m a n s h i p of t h e
craf t smen o f the a rea .
In Tamil Nadu , silver filigree armlets worn by Vellalars
o f C o i m b a t o r e D i s t r i c t h a v e e x c e l l e n t w o r k m a n s h i p i n
granu lar work .
Chettinad jewellery, made of uncut rubies, is one of the
finest. The addigai is a necklace made of a string of uncutrubies set in gold. A central motif of the padakam imitates
the lotus . The mangai-malai is a necklace of mango-shaped
pieces studded with uncut rubies and diamonds. The plait
cover often has at the top the head of a naga or snake.
The jewellery of the Todas and the Kotas of the Nilgiris
in Tamil Nadu, are very distinctive.
In Wes t Ben gal , th e filigr ee
w o r k o n g o l d a n d s i l v e r j ewe l l e ry i s ex t r em e l y
delicate. The finest pieces of
j e w e l l e r y a r e t h e h a i r
ornaments l ike the tara kanta
a n d t h e paan kan ta h a i r
pins designed like a star and
a betel leaf.
C E
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56 LIVING CRAFT TRADITIONS OF INDIA
Meenakari or Enam el Work
One of the most sophisticated forms of jewellery developed
in North India is meen a ka r i. J a i p u r i s t h e m a i n cen t r e ,
bu t some craf t smen p rac t i se th i s a r t in Delh i , Lucknow
and Varanasi as wel l .
Meenakari is combined with ku n d a n to produ ce a delicate
and rich effect. The meenakar i or enamel led pa t te rns a re
so fine and intricate that they need to be examined with a
magnifying glass. This tradition continues even today.
A s t ep -b y - s t ep d es c r i p t i o n o f h o w t h e t ech n i q u es o f
meen a ka r i a n d k u n d a n are combined to make exqu is i te
jewellery is given below.
1. The s ha pe of the jewellery is f irs t created.
2 . The jeweller cuts ou t the sect ions where precious s tones
need to be inlaid.
3 . It is t h e n h a n d e d ove r to th e m e e n a k a r who fil ls the
sections with lac, fixes it on a stick of lac, and outlines
delicate designs of flowers, foliage and birds.
4 . After mak ing the ou t l ine , the en t i re a rea i s engraved
for filling the enamel colour.
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57J EWELLERY
5 . To co n t a i n e a c h c o lo u r d i ffe r e n t c om p a r t m e n t s a r e
created. Within the enclosed, t iny compartments, l ines
are engraved to hold each colour and also to reflect
l ight , s ince many of the colours are t ransparent .
6. After th is th e colours are filled in an d fired in a s imple
clay oven at maximum temperature.
7 . Colours which require a lesser degree of heat a re then
fi l led in their respect ive compartments in the design
and fired again, until the whole piece is worked with
enamel on both s ides .
8 . Th e n t h e p ie c e is g ive n t o t h e k u n d a n worker , who
h ea t s i t o n warm as h es an d f i x e s t h e s t o n es i n t h e
empty spaces , which had earl ier been cut to shape.
9. A fine gold filling, sh ap ed to the s ize of th e opening an d
intended to hold the gem in place, is then heated and
fused to the base of the piece.
10. The finish ed piece is th en polish ed with a soft leath er
cloth till it glows. The beauty of the meenakari ornament
lies in the combination of elaborate patterns in enamel
with the lustre of precious stones.
The uniqueness of the meenakar i ornament l i es in the
fact th at even the back of the piece is elaborately decorated,
though it will only be seen by the wearer.
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58 LIVING CRAFT TRADITIONS OF INDIA
The Edge of Tolerance
Following is a poem An Amethyst by a school student which
depicts the hardships in the life of a gem-cutter.
I am an im ported a m ethy s t from Africa
I can s ee the difficulties of my sh aper
His age is 39 ye ars.
And he h ad been w ork ing from the a ge of eight,
The machine is his own a nd cost him 250 rupees
It looks to me as if he is being killed by de grees
Shaping an am ethyst on a w heel,
With his B.A. degree packed w ith a s eal
Sat S haldir Ahmad , the stone cutter
He w as oppres se d b ut no cry for help could he utter.
Late to bed a nd early to rise ,
He w ak es at five an d s leeps at 10 o clock in the night
Concentrating to sh ape m e, the right s ize
Due to this process he w eak ens his e yes ight .
Th is w as the w ork h is fa ther Samm u Khan
Had to do
And h is grand father Illahi Achan did the s am e w ork ,
His children go to a s chool
He w ants them to read a nd w rite
And not like him be in a plight.
The labour is one rupee per carat
He gets 1000 2000 rupees in a month
For all his h ard w ork , no part tim e job h e can do
The machine might be his, but the seth own s the Factory.The uncut amethy sts like me are imported,
After being w ork ed at they are exported.
Its not becaus e the foreign w ork ers a re s low ,
Its becaus e the cos t of our cut am ethy sts are low
Because the w orke rs pay scale is low.
How h ard he w ork s, how little he gets,
How hard h e s truggles , but, alas! He fails.
This is my tale,
This is m y story,
You for yourselves can n ow
Unders tand a w orkers sad ness and fury .
Bangles a nd the Bangle-ma k er
In Firozabad it is a familiar sight to see people on bicycles,
w heeling han dcarts or cycle ricks haw s w hich are piled h igh w ith
brightly coloured ba ngles . They are either being tak en to peoples
homes for completion or back to the factory for refiring.
Within homes also known as judai addas , the bangles go
through the s tages ofjhalai,judai an d ka ta i. The ba ngles come
in large bunches of 31 2 ban gles , of w hich 12 ba ngles are res erved
for breakage.
U n c u t a m e t h y s t
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59J EWELLERY
The first stage is jhalai. Th is w ork is done by the w omen
and children in the family. Four to f ive members si t in their
one-room h ous e, w hich serves as their l iving, s leep ing an d
w ork ing area. The roof an d the w alls of this room a re abs olutely
black w ith thick s oot. The s oot comes from the k eros ene lam ps
that are us ed in their w ork.
In front of each person a re 1 0 12 sm all k erose ne oil w ick
lam ps placed in a s em i-circle. Each ba ngle is then held by both
ends and the m idd le is heated over the f lam e. The hea ted bangle
is the n placed on the ground a nd gen tly pres se d to align the tw o
ends. Care has to be taken to ensure that there are no burns
either from the flam e or the h eated ban gle.
These a ligned ban gles are now tak en over by the m en or older
boys for the n ext s tage w hich is th at of joining the ban gle or
judai. In this process the tw o ends of the ban gles are heated over
a k erosen e and acetylene f lam e. The end s a re pressed togetherand the flam e m elts the glass enough to join the ban gle and m ak e
it a comp lete circle.
In both the s tages ofjhalai a ndjudai the w orkers su ffer the
ris k of being burnt bes ides straining their ey es . Cram ps , pain in
the joints a s w ell as se vere backache a re some of the other
problems faced by these w orke rs.
The joined ban gles are now ready for the kata i addas . The
carving is d one on a fas t revolving wh eel on w hich d es igns are
etched into the glas s. During this proces s it is very comm on for
the w ork er to get cut on the w heel or get fly ing glass particles
into his ey e. This is accom pan ied by aches and pains includ ing
a s train on the back .
Gold coating is the next step that the bangles go through.
Here a solution of pure gold and chemicals is poured into the
designs etched on the bangles, giving them an elaborate look.
During this s tage the w ork ers ha nd le al l the raw chem icals
w ithout w earing an y protective gloves or aprons.
As th e gold s olution is very ex pens ive, the w ork ers ha ve to be
very careful in ha nd ling it, so as to m inimise w as tage.
The ba ngles are now s ent ba ck to the factory for refiring, w hich
gives them a s heen. These are put individua lly on a t in tray an d
placed in a furnace. They have to be pulled out to check and
recheck if the process is com plete. The w ork ers run the ris k of
expos ure to exces sive hea t, burns and hea t cataract. Finally th e
bangles are sorted out and pa cked in boxes.
FEISAL ALKAZI, MARTHA FARELL an d
SHVETA KALYANWALA , The Danger Within
-
8/9/2019 CH5-Ancient Jwellery-NCERT text book
12/12
60 LIVING CRAFT TRADITIONS OF INDIA
1 . Des igns t ran s la te na tu ra l forms in to symbols . What doyou th ink were the sou rces of ins piration a nd symbolism
of the fol lowing. (Example:Bija o r s e e d r e p r e s e n t s
g ro wt h , f e r t i l i t y , p ro s p e r i t y . ) ( a ) M a n g a i m a l a , (b )
Shikharof a temple, (c) Dome of a mosque, (d) Wooden
tribal pole, (e) Kumbha or pot, (f) Kite.
2 . It is s a id tha t in Ra jas th an a w oman carries a l l her
w ealth on her body in the form of jew ellery. This is one
of the ways o f inves t ing weal th . What a re the o ther
ways of conserving ones wealth?
3 . It is difficult to d ecide w heth er it is folk jew ellery w hichha s influenced urban jew ellery, or vice ve rs a. There is
no doubt, howe ver, that ma ny of the form s lik e the bore,
th e h a r , the h a t h p h o o l , the gajra , originally developed
in fo lk jew ellery w ere la ter ad opted by city jew ellers
w ho re f ined them by us ing gold a nd prec ious s tones .
Do y o u ag ree? Arg u e y o u r ca s e g i v i n g ex am p l es o f
con temporary male and female jewel le ry fash ions in
your region.
4 . It is in teres t ing, how eve r, to f ind tha t chi ldren of a l l
castes and communities wear the hasl i as it is supposed
to protect their collarbone from dislocation. W h a t d oc h i l d r e n o f y o u r c o m m u n i t y w e a r a n d w h a t i s t h e
significance of each piece of jewellery?
5 . Unti l recent ly d es igns in clothes an d jew ellery of the
people all over Ind ia w ere governed by the ir pa rticular
cas te and the comm uni ty to wh ich they be longed . Do
you think this tradition is changing, and why?
6. Invest igate the occupa t ional heal th hazards in d ifferent
a s p ec t s o f j ewe l l e ry p ro d u c t i o n , a s fo r ex am p l e i n
meen a ka r i work o r in the bang le indus t ry . How can
th i s be addressed?
7. A recent Hollywood film called Blood Diamonddescribes
t h e p o l i t i c a l co n f l i c t , ex p l o i t a t i o n o f ch i l d ren , an d
slavery involved in the mining of diamonds in Africa.
Write a poem or story on a related theme based on your
o b s e rva t i on / exp e r ien ce / r e s ea rch .
60
E X E R C I S E.............................
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