What Is Enamelling Or Surface Ornamentation ?

Enamelling or surface ornamentation is not merely an art; it is the expression of an artist which he tries to depict through his art.

The art of decorating metal with enamelling or Meenakari was alien to India, until the Mughals—the true lovers of art—introduced it. Raja Man Singh of Amber brought meenakari to Rajasthan at the turn of the 16th century. He brought skillful meenakars from the Mughal palace at Lahore and established them in Jaipur, which became the center of meenakari. Enamelling here is done in the champleve technique, which means that the surface of gold or silver is hollowed out so that the cavity can be filled with a mineral.

The art flourished and spread to many parts of India. This was the common decorative link between Muslim and Hindu art. The synthesis of these two cultures produced a period of grandeur and brilliance that dazzled the world.

Today this art is restricted to the state of Rajasthan, some parts of Chamba in Himachal Pradesh and Varanasi in Uttar Pradesh. Just one family is involved in pink enamelling of Varanasi as of today.

In Rajasthan, traditional designers are the experts who draw the motifs directly on the metal. This art requires specialist craftsmanship calling for both high accuracy and predictably, style. The Jaipur enamellists have a special engraving pattern, which depends on transparent and opaque colors. Panchrangi Mina is a technique where five colors are used namely, transparent dark blue, transparent green, transparent red, opaque light blue and opaque white. Jaipur is also famous for reverse side enamelling. In this style, the visible front usually displays gemstones and enameling is done on the reverse, to protect the gold from abrasion and in the process increasing the value of the gold used.

The other way is when the piece to be enameled is fixed on lac and designs are traced out. The metal is pushed with an engraver and a wall is made out of the metal. The wall is made to hold the colors within its boundary, while engravings are made in the grooves to heighten the beauty of the jewel. The surface is completely burnished by agate; then the enamel colors are filled in a painstaking manner similar to how miniature paintings are made. (There are artisans who still make miniature portraits of kings, gods and goddesses). The piece is baked on a high fire range on a mica plate to keep it off the fire. Colors are applied in order of their hardness, those requiring more heat first and those requiring less heat later.

More than one craftsman was often involved in the making of a single piece of jewellery. The chiterias made the design, the ghaarias did the engraving, the enameller did meenakari and the sunar was the goldsmith. These craftsmen received patronage from the nobles and the kings and therefore, they did not have to compromise their art for the sake of popular taste.

Reviving the Art

The government can retrieve this dying art in the form of art camps, by providing permanent space (for example, Delhi has Delhi haat) free of avoidable costs like taxes, etc, organize fairs or craft bazaars, where stalls are free and even by way of honors and awards (mostly monetary).

Here is a list of reasons why this art is dying. Very few art lovers really appreciate art in the right spirit and are ready to pay the price. The cost of basic raw materials like, gem stone powder, has risen drastically, artisans have started using colored glass as a substitute, affecting the art’s authenticity, which is truly a matter of concern. The elaborate technique of firing at different temperatures to get the right color gets cumbersome. Thus the easy availability of low cost synthetic enamelling material that does not require the tedious procedure of firing and which is easy to apply, does not chip off easily and lasts longer. But this is killing the original art form. The jeweler/manufacturer also charges the client a huge amount for this art, but does not share profits with the almost underpaid artisan.

There is another side to the coin that we must understand. Surface ornamentation is not merely an art; it is the expression of an artist, which he tries to depict through his art. The design or the inspiration drawn is from nature and life. Thus, each piece has its own unique style and identity with a concept behind the creation.

Export firms are trying to develop this technique, but facing a crucial problem in consistency of color and shade for a large order. They are facing tough competition from Italy in the world market. Many jewelry designing schools and fine art colleges are teaching enamelling, but none of them are able to give effective results. There have to be combined efforts from the government, jewelers and students to revive and respect this art and the artisans.

Devinder Layal is the designer and Head, Jasani Department of Jewellery Design and Manufacture, PV Polytechnic, SNDT Women’s University.