Indian Antiques

Most Indian antiques from the 18th and 19th centuries are museum pieces. Foremost among these is the howdah, which was designed to carry the maharaja, his rani, and their immediate entourage atop his preferred means of transportation, an elephant. Howdahs usually had wooden frames, but you can barely see them for all the embossed silver and brocade-trimmed velvet that typified these portable thrones. The howdah itself rested on a jhool, which was usually made of velvet and richly embroidered with thread spun from gold.

The jewelry worn by maharajas and members of their courts were heavy with enormous, uncut gemstones. Diamonds, sapphires, and rubies were the rule in rings, bracelets, necklaces, and turban ornaments. Gemstones also studded the surfaces of untold numbers of functional objects, from hukkas (water pipes), writing implements, and game pieces to the scabbards and hilts of swords. Shorter blades such as kukris and gurkhas, some made of Damascus steel, were often engraved with images of flora and fauna. In the past, most of these weapons were made for ceremonial purposes. Today, contemporary artisans produce them as works of art.

The most elaborate jewels were those worn by the women of the court, especially the rani. Necklaces strained under the weight of emeralds, rubies, and sapphires, while gold hair ornaments shimmered in the Indian sun. In addition to earrings, women wore ear-size ornaments as well as wide, enameled, gold anklets and armbands, which, of course, were covered with jewels.

Wood has remained a favorite traditional material of Indian craftsmen. Boxes made of sandalwood and shisham, or Indian rosewood, give artisans a chance to show off a type of marquetry called sadeli, which mimics the appearance of inlay—bone, silver, and even gems are common accents. Inside these boxes, tight-fitting drawers and compartments create almost sacred spaces for game pieces, pens, and sewing tools such as thimbles.

In the late 19th century, mica paintings depicting street scenes and deities were produced for tourists. In the 20th century, as lithography became more widespread in Indian, luridly colored paper labels were placed on everything from candy to thread to snuff; the labels of textiles such as saris were naturally made of fabric. Prints of gods, goddesses, and poets were also widespread, depicting Vishnu, Krishna, and countless lesser deities.

Some of the most striking Indian graphics were the advertising images created for matchboxes and fireworks packaging. Subjects for matchboxes ranged from fetching females known as sudari to ganesh, whose human body boasts an extra pair of arms and the head of an elephant. Other animals found on matchboxes include pouncing tigers, flying horses, and snapping crocodiles. More serene are images of lotus flowers, swans, and peacocks, and palaces, including the Mughal monument, the Taj Mahal.

In recent years, advertising calendars and Bollywood movie posters have also risen in popularity. In both cases, the imagery tends to position Indian consumers and actors alike as modern and sophisticated, but with an exotic, almost mythical past.

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