Collecting Guide: Traditional Indian Jewellery

India’s rich culture of jewellery is partly the result of the extraordinary variety and quality of the minerals which could be found across the subcontinent. The mines of Golconda yielded the highest grade of diamonds, Kashmir produced the rarest and most beautiful sapphires, and Baroda (now Vadodara) produced the finest pearls.

The most magnificent emeralds arrived in India from Colombia via the Portuguese-controlled ports of Goa. Turquoise from Iran, spinels from the Badakhshan mine in the Pamir region (on the frontier between Afghanistan and Tajikistan) and diamonds from Madagascar also made their way to India via the country’s extensive trade networks.

Under the Mughal dynasty, which ruled India from 1526 to 1857, the finest stones were transformed into impressive works of art, ranging from earrings, necklaces, bangles, rings and jighas (turban ornaments) to jewelled objects such as daggers, pen pots and inkwells.

A diamond-set enamelled gold necklace and bazuband, north India, late 19th century. Necklace 9½ in (24 cm) across; bazuband 6⅝ in (16.8 cm) long. Estimate: £15,000-20,000. Offered in Art of the Islamic and Indian Worlds including Rugs and Carpets on 1 May 2025 at Christie’s in London

‘Traditional Indian jewellery is known for its colour and intricate designs incorporating precious gemstones, filigree work and enamelled surfaces,’ says Behnaz Atighi Moghaddam, a specialist in Islamic and Indian Art at Christie’s in London. While silver was sometimes used as the base, gold was the more popular choice. ‘Gold in India is not just metal — it’s emotion, tradition and power rolled into one. It represents spirituality, prosperity, tradition, identity and security, making it one of the most meaningful elements in Indian life and culture.’

During the Mughal era, jewellery was integral to the assertion of rank, status and authority. Bangles, for instance, were only worn by married women, while long pearl necklaces and bejewelled jighas were reserved for the highest-ranking members of the royal family. (By the 18th century, when Mughal power had declined, regional rulers across the subcontinent began to wear turban ornaments as emblems of rank.)

Equally symbolic was the spinel stone, which was highly prized by the Mughal emperors and symbolised imperial power, divine right and royal legacy. Often mistaken for rubies, red spinels became a favourite among Mughal royalty for their vivid colour, rarity and durability. ‘We know about many of the traditions in Indian jewellery from surviving paintings from the period,’ says Atighi Moghaddam. ‘Some illustrate the ways in which Mughal rulers and court officials liked to wear their jewels, while others depict rites of passage in the Indian jewellery tradition.’

Portrait of Shah Jahan, Mughal India, circa 1700. Painting: 6¾ x 3⅝ in (17.1 x 9.4 cm); folio: 14 x 9⅝ in (35.5 x 24.6 cm). Sold for $62,500 on 19 June 2019 at Christie’s in New York

A gem-set gold turban ornament, India, first half 20th century. 3 x 3 in (7.6 x 7.6 cm). Estimate: £5,000-7,000. Offered in Art of the Islamic and Indian Worlds including Rugs and Carpets on 1 May 2025 at Christie’s in London

As much as gems were a symbol of rank and status, they were also cherished by Mughal rulers for their symbolic meanings. ‘In Mughal jewellery, gemstones and colours had spiritual significance,’ explains Atighi Moghaddam. ‘Rubies symbolised power; emeralds were thought to bring wisdom, healing and eternal life; while pearls represented purity and elegance.’ As for the colours, red represented passion, blue symbolised tranquillity and green indicated fertility. Emeralds and spinels were among the most revered gems and were thus often engraved with a personal message, names of the emperor or verses from the Qur’an.

Jewels with nine stones, known as navaratna, were also highly prized for their talismanic properties. ‘The nine stones represent the nine celestial deities,’ says Atighi Moghaddam, who adds that rubies were always placed at the centre of such jewels. ‘Wearing navartana jewellery was believed to bring harmony, balance and wealth.’

The influences that shaped imperial fashions

Imperial fashions in jewellery and jewelled objects were subject to local, regional and external influences. The technique of enamelling, for example, was probably introduced to the subcontinent in the late 16th century, when craftsmen from the court of the Mughal emperor Akbar (r. 1556-1605) were sent to Portuguese Goa to learn from European craftsmen based there.

The finest jewellery was made in India’s vast network of workshops, especially in centres like Bikaner, Jaipur, Agra and Delhi. ‘Each region had its own traditions and favoured certain techniques, motifs, materials and forms,’ says Atighi Moghaddam. ‘These visual distinctions can help us to identify the origin and date of a piece of jewellery.’

A pair of gold bangles, Tamil Nadu, south India, 19th century. Each 2⅝ in (6.7 cm) diam. Estimate: £15,000-20,000. Offered in Art of the Islamic and Indian Worlds including Rugs and Carpets on 1 May 2025 at Christie’s in London

Southern Indian jewellery, for instance, is known for its intricate goldwork and sculpted designs depicting symbolic animals, objects or gods. Part of the decoration of these 19th-century southern Indian gold armlets features figures of Shiva and Parvati, while the surfaces of the bangles above are decorated with mythical creatures.

Floral motifs were also popular. Jasmine bud necklaces, for example, are particularly associated with Tamil-speaking areas of southern India. Over time, sculpted gold and silver pieces from the region were enhanced with precious gemstones and enamel. ‘Striking emerald-green-coloured enamel is typical of jewellery from Hyderabad,’ says Atighi Moghaddam.

A pair of gem-set enamelled gold bangles, probably Jaipur, Rajasthan, India, late 19th century. 4 in (10.2 cm) diam. Estimate: £20,000-30,000. Offered in Art of the Islamic and Indian Worlds including Rugs and Carpets on 1 May 2025 at Christie’s in London

Northern Indian jewellery, meanwhile, is characterised by its gem-set enamelled surfaces decorated with intricate floral designs, many of which were inspired by Islamic manuscript illustrations. According to Atighi Moghaddam, Jaipur was the most reputable enamel centre, celebrated for its brilliant colours, especially its red enamel.

Then there’s Kundan jewellery, which is made using a traditional Indian goldsmithing technique that allows specialist craftsmen to create intricate settings for gems set on metals, hardstones and other materials. Kundan jewellery, which flourished under the patronage of the Mughals, generally involves 24k gold and detailed designs that draw inspiration from architecture and nature, with floral motifs being a recurring favourite. The historic style is still used in Indian jewellery today, and is particularly popular with brides.

Two gold necklaces (one pictured), south India, 19th/20th century. Mullamottu: 11⅝ in (29.6 cm) excluding cord; choker 10 in (25.5 cm) excluding cord. Estimate: £5,000-7,000. Offered in Art of the Islamic and Indian Worlds including Rugs and Carpets on 1 May 2025 at Christie’s in London

Atighi Moghaddam emphasises that some techniques and patterns were popular across the subcontinent. One such design was the wave pattern, as seen in the south Indian necklace above. ‘The pattern is formed by the gold interlocking chevrons, and is remarkably contemporary in aesthetic,’ she says.

Jewelled objects: daggers, pen cases and inkwells

Under the Mughal dynasty, precious stones were also mounted into prized objects such as daggers, pen cases and inkwells. ‘Jewelled pen cases and inkwell sets were symbols of knowledge, rank and power at court throughout the medieval Islamic period,’ explains Atighi Moghaddam. ‘This tradition continued into the Mughal world, where lavish pen cases and inkwell sets were given by emperors as a sign of the highest distinction.’

Formerly part of the Al Thani collection, a 16th-century gold pen case and inkwell set with rubies, diamonds and emeralds sold for $1,575,000 in the record-breaking Maharajas & Mughal Magnificence auction in 2019. The sale, which included almost 400 jewels, gems and objects spanning more than 500 years, achieved a total of $109 million — the highest for any auction of Indian art and Mughal objects, and the second highest for a private jewellery collection.

An emerald, ruby and diamond set gold state pen case and inkwell (davat-i dawlat), Deccan, central India, late 16th century. 12¼ in (30.6 cm) long; inkwell: 4⅝ in (11.7 cm) high. Sold for $1,575,000 on 19 June 2019 at Christie’s in New York

Also offered in that sale was an enamelled and gem-set model of a parrot; a lavishly decorated ceremonial sword owned by the Nizam of Hyderabad; and a magnificent gold gem-set hilted dagger from either Tanjore or Mysore, made between 1790 and 1810. The dagger’s gold hilt is in the form of a yali, a mythical lion-headed beast that also appears in the architecture and furnishings of south India.

The fusion of East and West at the turn of the 20th century

The influence of the West on Indian jewellery can be seen in the gem-cutting and other techniques introduced by European jewellers, while the influence of the Indian style on Western jewellery can be seen in some of the finest Art Deco pieces from the early 20th century.

Of all the great jewellery houses, Cartier has had the longest and most productive association with India. In the early years of the 20th century, Jacques Cartier forged links with a number of Indian princes, many of whom brought their most prized jewels to Europe to be reset in the Western style. (In many of these reimagined pieces, the gold associated with kingship and divinity was replaced with platinum.) Cartier also made regular visits to India, meeting and establishing close relationships with the royal families.

An Art Deco emerald, sapphire and diamond belt-buckle brooch, Cartier. Sold for $1,545,000 on 19 June 2019 at Christie’s in New York

Many of Cartier’s finest creations from the Art Deco period were inspired by Indian architecture, gems and jewels. One brilliant example is a 1922 platinum belt-buckle brooch set with diamonds, emeralds and sapphires. The calibré-cut sapphire trim and diamond detail are reminiscent of the ornate archways in Mughal palaces and royal quarters. The brooch was formerly part of the collection of Sybil Sassoon, Marchioness of Cholmondeley, who chose to wear it for both the coronation of King George VI in 1937 and the coronation of Queen Elizabeth II in 1953.

Another beautiful example of the fusion of East and West is the Patiala Ruby Choker by Cartier. Made in 1931, the choker is one component of a larger bib-style necklace commissioned by Maharaja Bhupinder Singh of Patiala, one of Cartier’s greatest clients.

Mughal jewellery’s ongoing influence

Mughal jewellery continues to inspire jewellery designers today, among them the Mumbai-based Viren Bhagat. His unique creations fuse Indian references with European techniques and the most exceptional gemstones, making him a favourite with connoisseurs and collectors around the world.

Another is Joel Arthur Rosenthal, also known as JAR, who employs vibrant colours and decorative motifs inspired by the artistic riches of south Asia. JAR’s ‘Mogol’ flower bangle bracelet is a case in point. The metallic purple of the titanium is adorned with vibrant sculpted buds and flowers — a common feature of JAR’s work that pays tribute to traditional Indian jewellery. When it was offered at Christie’s in 2002 it sold for $556,000, more than double the high estimate.

A five-strand natural pearl and diamond necklace, Bhagat. Five graduated strands of 377 natural pearls of 9.45 to 3.90 mm, 24 natural pearls on neckchain, drop-shaped natural pearl on clasp, cushion-cut diamonds of 4.05 and 4.03 carats, oval-shaped diamond of 2.06 carats, pear, circular and baguette-cut diamonds, platinum, shortest strand 25 in, 2012, unsigned. Sold for $1,695,000 on 19 June 2019 at Christie’s in New York

Atighi Moghaddam also pinpoints Hanut Singh, whose designs reference myriad sources, from classic and contemporary design, art and architecture to the Jazz Age and the Indo-Mughal era. Then there’s Krishna Choudhary, the founder of Mayfair-based Santi Jewels, who continues to work with Mughal motifs and stones. ‘The traditional jewellery-making in India peaked in the 17th century,’ Choudhary told Wallpaper in 2024. ‘However, my passion has always been to reflect the ideology behind these patterns with the best craftsmanship of our times.’

The most collectable pieces today

Atighi Moghaddam knows people who buy Indian jewellery to deepen their collection of Indian art, and others who buy voluminous statement pieces to wear on special occasions. The majority of those buying Indian jewellery at auction, however, are looking for decorative pieces that can be offered as gifts or that are easy to wear every day.

A gem-set and enamelled gold bracelet, India, 19th/20th century. The bracelet mount: 1⅞ x 1⅝ in (4.9 x 4 cm); 7 in (17.9 cm) long including band. The earring: 4⅞ in (12.5 cm) high. Estimate: £5,000-7,000. Offered in Art of the Islamic and Indian Worlds including Rugs and Carpets on 1 May 2025 at Christie’s in London

While Mughal jewellery can fetch very high prices, many pieces offered at Christie’s are surprisingly affordable. ‘A pair of traditional south Indian gold earrings can be acquired for as little as £1,000,’ says Atighi Moghaddam. ‘They’re historic and yet can look really modern, making them a great alternative to a contemporary piece of jewellery.’

As with any work of art, the condition, provenance, size and quality of materials used in Mughal jewellery will influence its value. ‘If a piece is linked to a particular maharajah or royal member of the court, the price tends to skyrocket,’ says Atighi Moghaddam.

Growing interest since the Maharajas & Mughal Magnificence sale

According to Atighi Moghaddam, the 2019 Maharajas & Mughal Magnificence sale ignited a renewed interest in traditional Indian jewellery. ‘Thousands of people flocked to Christie’s salerooms around the world to see the splendid Al Thani collection,’ she says. ‘We’re now seeing more interest from collectors around the world, particularly from those in India.’

A pearl and diamond-set gold necklace and earrings, north India, 19th/20th century. Necklace: mount 2⅛ in (5.4 cm) across, pearl strands each 3⅞ in (9.7 cm) long. Earrings each 2⅞ in (7.3 cm) long. Estimate: £6,000-8,000. Offered in Art of the Islamic and Indian Worlds including Rugs and Carpets on 1 May 2025 at Christie’s in London

The Great Mughals: Art, Architecture and Opulence exhibition (until 5 May 2025) at the V&A in London has also revived interest in the arts of India and the Mughal court. ‘It’s great to see a new generation being introduced to Mughal-era design and its enduring relevance,’ says Atighi Moghaddam.

Mughal jewels and jewelled objects, many of which carry accessible pre-sale estimates, are often included in Christie’s Art of the Islamic and Indian world sales. ‘We regularly offer pieces — spanning periods, styles and price points — that will be attractive to both new and seasoned collectors,’ says the specialist.

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ML Staff. Content/images courtesy of Christies.