Jewels from the Al-Thani Collection

Haidar first provides an introduction to the exhibition, discussing briefly Al-Thani as a collector, followed by an outline of the book and the exhibition. The objects are organized into five sections and aim to present a varied group that is highlighted by style and chronology. The sections are: 1) Mughal and Mughal-style objects in jade and hard-stone; 2) gold gem-set objects from the courts of north and south India; 3) examples of traditional Indian jewelry for men and women from various courts and centers of the eighteenth and nineteenth centuries, successors of the Mughal tradition; later Western and Indian jewelry, including pieces by Cartier; 5) contemporary works made for the collector. She explains that these sixty objects from Al-Thani’s vast collection were purposefully chosen for their historical significance, visual interest, and collectively their range of periods and styles. The latter point is to emphasize the cross-cultural influences in jewelry making and tradition over time. Haidar concludes her introduction with several sections that provide a concise and succinct background on Indian jewelry. The first examines the historical traditions of courtly jewelry, from the Mughals to Tipu Sultan, to the Indian maharajas. The latter provides a nice transition into a short discussion on British colonialism in India that ultimately leads to the mainstream exposure of Indian jewelry in the Western world. Next, she talks about materials and their gemstones, highlighting the great network that was established in the creation of Indian jewelry. For example, many of the precious stones did not come from the subcontinent, but from other places; sapphires from Sri Lanka and Burma, spinels from Afghanistan, and emeralds from Colombia by way of European trade. The next section looks at the techniques and styles applied and used in producing Indian jewelry. Finally, a section on forms and meaning looks at not only the significance of the jewelry’s physical features, but also what they symbolized when worn –they represented beauty, power, virtue, role, and status.

The next section of the volume is the catalogue, divided into the five sections as discussed above. For each object, Haidar and Stewart provide information on the object, such as date, culture, and dimensions, as well as a brief description. Where necessary, they explain the purpose and functionality of the object. What is refreshing about Haidar and Stewart’s assessment are the accompanying images that support each object. These images, either of paintings or photographs, provide context on how the object was used, where it was worn, and what it embellished. For example, the entry on Tipu Sultan’s (r. 1782-1799) throne finial not only has a beautiful close up of the object, but it also has an image of what the grand throne looked like before it was dismantled in 1799. It is striking to see an elaborate diamond necklace, but even more so when it is juxtaposed with a photograph of the maharaja who owned it, wearing it. With regard to contemporary material, these objects are shown with the sources that inspired them, whether it be other jewelry from the past, or architectural elements.

The end of the book provides fantastic reference materials. It first has a list of all of the accompanying illustrations and their pertinent information such as title, date, and location. This part is followed by notes and citations, a publication record of each al-Thani object, and a selected bibliography.

Although it focuses on Al-Thani’s collection, this volume provides a fascinating means of learning about Indian jewelry, from its historical traditions to its modern day interpretations. It is a small but significant work that introduces the reader to the dazzling context of these extraordinary works. The rich illustrations wonderfully capture the beauty and magnificence of the al-Thani collection. This book is a necessity to scholars, students, and those interested in learning more about the jeweled arts of India. It immortalizes a ground-breaking exhibition, providing the reader constant access to a collection that is rarely seen by the public. More importantly, Haidar and Stewart’s volume demonstrate that Indian jewelry is among the highest expressions of Indian culture, and should be treated as such in art historical scholarship.

Rachel Parikh, The Metropolitan Museum of Art (rachel.parikh@metmuseum.org)