Indian ancient jewelry micro-carving craft is the most magnificent heritage of the Indian jewelry industry

As one of the most famous colored gemstones in the world, India has a long history of jewellery making. The magnificent and luxurious colored jewellery and exquisite craftsmanship have envied the wilderness of the wilderness. With the history of the precipitation, there is also the ancient craftsmanship of ancient Indian gemstone micro-carving, which is the most magnificent heritage of the Indian jewelry industry.

Micro-carved jewels, once regarded as the luxury enjoyment of the royal family, are the supreme symbol of status. This aspect is derived from the scarcity of raw materials. Even in India, where the production of colorful treasures is abundant, the gemstones suitable for micro-carving are not easy to obtain. It is too soft and too hard. The jeweler must consider the complexity of the process and the problem of material loss; In order to pursue the overall effect of perfect luxury, the color and clarity of the gemstones are also very strict considerations, and the original stones that meet the conditions are very rare. On the other hand, due to the strict restrictions of the old Indian caste system, the delicate micro-carved jewelry is destined to belong only to the royal family.

Perhaps because of this, the royal family's pursuit of a golden, brilliant and aesthetic orientation has had a major impact on the artistic style of the Indian jewelry industry. The micro-carving jeweler who has survived to this day, the precious materials and the complicated craftsmanship, are not affected by this "noble fashion". Among them, Amrapali is most affected by the tradition. It has extensively excavated the masters of folk jewellery craftsmanship, and strives to reproduce and rejuvenate the "magic paradigm" of the year. The string of nine micro-carved main stone inlaid with teardrop pearls is completely classical. product. The two jewelers of Mirari and FarahKhan combine traditional crafts, contemporary art and some western aesthetics. We can observe that their expressions of the theme are more diverse, and the control of lines and shapes is more unrestricted. It is also improved to lightness and simplicity. For example, FarahKhan's "Victoria Court Chandelier" is a model of East and West. Its style draws on Victorian British court chandeliers. The little angels above are also the idols of Western religious culture, but the graceful lines are elegant and symmetrical. The composition, and the fine micro-carving process, are completely classical Indian.

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