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Women And Jewelry - The Spiritual Dimensions Of Ornamentation

By Author: viennois online
Total Articles: 69

The people of India have expended limitless energy and creativity in the invention of ornaments that celebrate the human body. Adorning the visible, material body, they feel, satisfies a universal longing for the embellishment of its intangible counterpart, namely the human spirit. Besides, they start to do Christmas jewelry wholesale to make their festival be better and brand new. And from some platform of Christmas jewelry wholesale, they prefer to wholesale western jewelry pendants.

Indeed rarely is a traditional Indian ornament simply decorative and devoid of inherent meaning or symbolic value. Symbols found in Indian jewelry act as a metaphorical language communicated from the wearer to the viewer. Such a jewelry is created from an infinite reserve of symbolically significant forms and images, some obvious, some subtle, and some whose meaning is forgotten.



 
Complementary to such thought is the conventional view where the graceful form of a woman is said to epitomize the ideal beauty and mystery inherent in nature. Thus befittingly each and every part of the feminine physique including the head, torso, limbs, and between the appended parts - have consistently been used to support ornaments, often in ingenious ways. The Indian idea being that only things covered with ornaments are beautiful. Poetry must overflow with rhetorical ornaments (alamkara), metaphors, alliterations, and other musical effects. The verb alam-kara, to adorn, to decorate, means literally to make enough: for the simple appearance without ornament is not enough; it is poor, disgraceful, shocking, except in the case of an ascetic. Hence the stress on adornment of the women, who are but the poetry of nature.

Ornamentation not only serves to please the eyes of the beholder but also fulfils an auspicious purpose. The impulse to adorn stems from a deep rooted sensibility to mark every occasion of life with auspicious symbols, designs and figures to obtain good fortune and protection from evil. Thus a fully bedecked woman evokes in the viewer a deep and ingratiating feeling of tranquil contentment, springing from an intuitive realization that evolving before him is an image of perfect beauty, symbolically conveying the richness and completeness which is but natural to nature.

The ancients who translated the abstract nuances of Indian philosophy into images of everyday reality went even further and canonized the adornment of the female form into sixteen different ornaments (solah shringar), covering her entire being from the head to toe. The choice of the number sixteen too is not without significance. It is a significant number among the Hindus, and corresponds to the sixteen phases of the life of the moon, which in turn is connected with a woman's menstrual cycle. This is another pointer to the feminine physiognomy being a microcosm of the rhythms of natural processes. Further a woman of sixteen is considered at the peak of physical perfection in her life. At this stage of her life the aspect of delight is most pronounced. Her nature is to play, seek new experiences, and to charm others to her. Her innocence attracts to her all that is true and good. Indeed it is common for deities to be described as eternally sixteen years old, which is considered the most beautiful and vigorous human age. In fact an important goddess is named after the Sanskrit name for sixteen (Shodashi), and is visualized as having all the above mentioned qualities.
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