The Jewelled Language of Mughal India
- Apollo Auctions
- Apr 9
- 4 min read
The Mughal empire, renowned for its opulent court culture and refined aesthetic sensibilities, left behind a dazzling legacy of adornment—where jewellery was not merely decorative, but acted as a potent symbol of status, spirituality, and imperial authority. The upcoming Fine Islamic and Indian Art sale at Apollo Art Auctions on Monday the 28th of April showcases several exquisite examples from this world of splendour, each offering a unique glimpse into the artistry of Mughal India.
The opulence of the Mughal court finds eloquent expression within its jewellery—among some of the highlights from April’s sale is Lot 54 a jade inscribed ring; its bezel carved with Naskh script. Likely intended as a talismanic or devotional object, this piece exemplifies the Mughal taste for jade, a material treasured for both its tactile beauty, as well as its spiritual connotations. Such rings were worn for protection and blessing, their inscriptions often invoking divine names or Qur'anic verses.[1]
Another remarkable piece is Lot 49 a Mughal archer’s ring, fashioned from a dark alloy and overlaid with intricate gold decoration in the form of a hunting scene. Its design featuring a leaping antelope and prowling feline amid flowering foliage, the ring speaks to the Mughal fascination with royal hunts[2], a pastime deeply associated with kingship, discipline, and control over nature. Though functional, these thumb rings became prestigious symbols of elite status at court.[3]
The Mughal court’s enduring fascination with vibrant colour, intricate surface decoration, and symbolic form finds vivid expression in Lot 56, a green enamel and diamond-set ring. Here, uncut diamonds retaining their natural, unmodified form are arranged within a floral cluster on a rich green enamelled ground. This composition exemplifies the kundan-meena technique, a sophisticated method developed in the imperial ateliers whereby coloured gemstones are set into gold (kundan), and the reverse is adorned with a polychrome enamel (meena).[4] The origins of kundan jewellery date back to the Rajput and Mughal era, as it is one of the oldest jewellery crafts in India. The integration of enamel both used throughout the band and to the reverse of the item not only demonstrates technical virtuosity but also aligns with the Mughal preference for lavish ornamentation and a distinctly naturalistic ornamental language, which was often inspired by the refined botanical studies cultivated by court ateliers.
Equally arresting is Lot 57, a boldly conceived navaratna ring whose square face is inlaid with nine auspicious gems, including garnet, sapphire, pearl, and emerald, which are associated with one of the celestial deities of Hindu cosmology.[5] Deeply rooted in Indic tradition and embraced by the Mughal elite, the navaratna configuration was believed to harmonise planetary influences and shield the wearer from misfortune. This example is further enriched with finely chased goldwork and delicately enamelled shoulders, which not only enhance its ornamental appeal but underscore its symbolic potency as an imperial talisman. Thought to harmonise planetary influences, such rings were believed to confer protection, health, and prosperity, attributes which were highly valued by Mughal elites who often embraced Indic cosmological systems alongside an appreciation of Persianate aesthetics. The continued popularity of navaratna rings in South Asia today attests to the enduring resonance of these beliefs.
Lot 63 presents a superb example of Mughal craftsmanship: a 17th-century Indian dagger featuring a hilt exquisitely carved from a single piece of translucent agate in the form of a rearing horse’s head with an open mouth. The Mughal court's deep appreciation for hardstone carving reached new artistic heights during the reign of Emperor Jahangir (r. 1605–1627), when lapidary workshops were patronised to produce jade and agate objects of remarkable refinement.[6] Valued not only for their durability and aesthetic appeal, agate and jade were believed to hold talismanic properties, hence making them suitable materials for hilts, drinking vessels, and personal adornments. This example displays exceptional attention to detail in the naturalistic modelling of the horse’s head; complete with flaring nostrils, expressive eyes, and a finely incised mane, finished with a decorative scrolling floral motif at the base of the grip. The piece stands as a testament to the convergence of martial function and courtly luxury within Mughal decorative arts.[7]
From inscribed jade to intricately enamelled and gem-encrusted gold, these Mughal rings transcend their role as mere personal adornments, offering intimate insights into the spiritual, intellectual, and socio-political fabric of early modern South Asia. Within the Mughal world, jewellery functioned as a complex visual language, simultaneously a marker of rank, a conduit of religious devotion, and as medium of diplomatic exchange. These objects reflect a refined confluence of artistic traditions drawn from Persian, Central Asian, and Indian sources, synthesised under imperial patronage into a uniquely Mughal aesthetic idiom.[8] Whether invoking divine protection through engraved Qur’anic verses, asserting cosmic harmony through navaratna configurations, or celebrating the courtly hunt through decorative motifs, each ring serves as a microcosm of the values, beliefs, and ambitions of its age. Surviving as tangible remnants of this gilded world, these pieces continue to captivate not only for their craftsmanship, but for their ability to narrate a history of empire, identity, and the aesthetic of courtly splendour.
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