HEAVY METAL By Patricia Ann Alvares [EMAIL PROTECTED]
Fashioned by a fusion of the native and the foreign, the Goan goldsmith's art glitters, well, like gold. The archetypal Indian woman has a reverential, almost sensuous, relationship with gold. Flaunted by royalty and treasured by commoners in days of yore, this beautiful metal came to be an inextricable part of Indian culture defining caste and class as it went from one century to the next, establishing itself as the matriarch of ornaments. Drawing its strength from a tiered history, testified in reams and reams, gold and goldsmiths (Shettis or Sonnars) have long been a part of the Indian tapestry. In ancient times, when vocations were synonymous with caste, the Daivadnya Brahmins practising as Shettis were considered superior and the most honoured artisans of all. Interestingly, Daivadnya means 'one who knows astrology and everything of God and hence one who is an expert in making gold and silver idols and ornaments meant for God.' It was also an honour earned by the sweat of their brow. Superbly handcrafted ornaments in gold and silver came to life in coal and smoke-ridden workshops of the goldsmiths whose muscle power whipped up the bellows (fugdi) to keep the coal embers glowing and hot enough to melt the gold. These were then flattened into smooth plates for the stamp ('dye') which was pressed upon it for the next step in the cutting and engraving of design. Today, machines and lathes humming in unison churn out orders by the dozens, but as most jewellers of yesteryears will testify, none match the sparkle and brilliance of the handcrafting smith. As a fascinating art, it captured the imagination of all goldsmiths, particularly those on Goan shores, whose filigree work was exemplified in intricate and ornate jewellery like the popular but tricky upper arm band (bajuband), idols, deities, temple adornments and vessels. Held in high esteem, these goldsmiths wielded quite a bit of influence and power. Apparently, in pre-Portuguese Goa, Brahmins, goldsmiths and merchants were exempted from being flogged even if they had committed heinous crimes. But it was the advent of the Portuguese invaders that was to give this art the dimension and world-class quality it has been associated with today. Intrigued by its design, craftsmanship and dazzling array of ornaments, the Portuguese were the first Europeans to trade in gold. Later, with the arrival of their artifacts into the land, European design ideas and Goan technical expertise were soon to meet in a unique artistic fusion, far surpassing those seen on the Indian subcontinent, thus paving the way for its journey into foreign countries and particularly into the Mughal courts in North India. St. Francis Xavier's silver casket at the Basilica de Bom Jesus at Old Goa is the best illustration of this fusion. Putting their expertise, and faith, to the test, Goan goldsmiths, who were mainly Hindus, were enlisted under a Catholic Portuguese regime to fashion liturgical motifs like chalices, pyxes, candlesticks, patents, picture frames, staffs, ostensoria, crowns, altars and so on, the likes of which are a treasured heritage of all Portuguese-era churches in Goa today. One such objet d'art, a crown made for a Portuguese king in the 16th century, is exhibited at a museum in Portugal. A century later, the gifted goldsmith Roulu Xett (or Chatim—Goldsmith) was taken to Lisbon to make filigree ornaments for the royal family. In later years, Saudi Arabia and even Iran invited Goan artisans to their countries. Holding the banner high for goldsmiths, Roulu Xett was to inspire the late Parshuram Govind Lotlikar, late Mohan T Chodankar and Rajendra Raghuvir Raikar among others to achieve great heights. As a close-knit community, goldsmiths were fiercely protective of a craft they perpetuated for centuries; and as an art, it gained finesse handed down from one generation to the next. Today, whilst the old guards of Brahmin goldsmiths like the Lotlikars, Raikars, Chodankars, Verlekars and Nasnodkars remain, there is a steady influx from other castes as well. Spread all over Goa, Shetti jewellery shops (joalharia) are an indispensable part of the state's business landscape. Pitching its weight against a market flooded with imitations, or the more popular and inexpensive costume or designer jewellery in silver, brass, copper, other metals and woodwork, gold as an art, a style and as a way of life is holding its own in a fiercely competitive field. Earrings, rings, bangles, chains or a mangalsutra complete a Goan woman's attire. But it's at festive occasions, particularly weddings, that gold plays its most brilliant yet subtle role, setting the pace for the celebration, and defining caste and class in terms of the degree of opulence. As for the bride, adorned in the must-have necklace, bangles, earrings, nose-ring, rings and head adornments, she is often overshadowed by the brilliance and weight of her jewellery. Exquisite handcrafted traditional styles dominate preferences on these occasions, despite their pricey tag. Shrinking from the chunky, all-encompassing jewellery that adorned their counterparts of old from head to toe, the woman of today makes her statement with simple yet stylishly crafted ornaments embellished with diamonds and other precious stones, except for weddings and special occasions where the heavy traditional jewellery makes an appearance. Whilst the Hindus prefer pure gold without too many embellishments, the Catholics have a preference for gold inlaid with stones particularly the malachite 'fodos' sand stones either in red (pedre vitorino) or green (pedre verde). Interestingly, these are quadrangle stones encased in gold, shaped to resemble the casket of the revered Patron Saint of Goa, St. Francis Xavier. Corals and marquesites, available in abundance, are another favourite combination with gold. With its purity fluctuating between 18K to 22K and weighed in grams 'libre' (one libra = eight grams) on a brass scale called 'tararas' or the modern digital one, the gold rush starts with the Ganesh festival in August or September, peaks in the wedding season which lasts up to April-May, and dwindles by June. While overtly ornamental and heavy designs have given way to a finer, more contemporary look, yet all that glitters is, indeed, gold! Reputed Jewellers in Panjim, Margao, Mapusa, Vasco Joalharia Esmeralda Municipal Market Panjim Ph: 2223852 K S Lotlikar & Bros Opp. Azad Maidan Panjim Ph: 2230168 Sainath Jewellers 18th June Road Panjim Ph: 2423943 Joalharia G X Verlekar Near Head Post Office Panjim Ph: 2435554 Sirsat Jewellers Opp. Clube National Adj. High Court Panjim Ph: 2224786 Nasnodkar Jewellers 27, Municipal Market Mapusa Ph: 2262697 M V Caroicar 62, Municipal Market Mapusa Ph: 2262313 Joalharia Confianca Mayflower Apartments Mapusa Ph: 2262896 Raikar Jewellers Opp. Old Bank of Baroda Near Pimpalkatta Margao Ph: 2715094/273695 Haldankar & Sons No. 31, Municipal Market Mapusa, Goa Ph: 2262484 Verlekar Jewellers 41, Apna Bazar Vasco Ph: 2514104 Salkar Jewellers 17, Apna Bazar Vasco Ph: 2513094 Goan Hindu Bridal Jewellery (intricate and ornate with less use of precious and semi precious stones) Head Gear (Forehead) - Bhanghtilo (Middle) - Surghancho wolosor (Back) - Pisoli Plait - Weni Necklace - Galsari Earrings - Wedd Bangles (4 types) - Ghot Patli Kankana Tode Necklace gifted by groom - Mangalsutra Goan Catholic Bridal Jewellery (embellished with diamonds, marquesites and other precious and semi-precious stones) Necklace - Jog Bangles (7 bangles of 7 designs) - Seman Rings (7 clasped together) - Seman Earrings - Kanantli Wedding Band - Mudi Aurum Artists Parshuram Govind Lotlikar The late Parshuram Govind Lotlikar, hailing from the village of Pilerne, was a master at fancy jewellery and gold plating. His work came to the limelight after he won a prize at the handicraft competition held in April 1990 by the Directorate of Industries and Mines, Goa. Later, he went on to represent Goa at the handicrafts exhibition held in Bhopal and the International Trade Fair in Delhi. Needless to say, his works have graced some beautiful women way beyond Goan or Indian boundaries. Specialising in the making of 'ghatkam', which he perfected under the tutelage of Rayu Shirodkar, he was also an expert in imitation jewellery. Today, the Lotlikars continue to carry on his legacy. Rajendra Raghuvir Raikar Honing an art handed down to him from generations of the Raikars, Rajendra Raghuvir Raikar carved a niche for himself as a master craftsman. Working from his workshop at home, Raikar roped in his son Raghuvir Raikar to take over the reins. In turn, Raghuvir took to the craft like the proverbial duck to water whilst his business acumen was fine tuned with a degree in commerce from the University of Bombay. The Raikars are credited with being the first jewellers in Goa to bring in a lathe machine from Italy. Well known in South Goa, the Raikars have long established themselves as trusted jewellers, crafting and making jewellery for several families and select clientele that have remained loyal to them through the years. That their ornaments are treasured not only amongst Goans but also among other communities and nationalities is evidence enough of their versatility. Mohan T Chodankar Often described as craftsman par excellence for his inventive and novel 'open setting method' for setting stones as opposed to the cumbersome 'closed setting method', the late Mohan T Chodankar had a reputation of being one of the most proficient engravers and diamond setters in Goa. In an art exhibition held in 1940 by the Portuguese government, this native of Goa Velha bagged a prize for his masterpiece – a silver tray engraved with the Basilica de Bom Jesus — which was bought by a bishop of Rome for a fabulous sum. In 1970, a similar piece with "Dempo Building" engraved on it and presented to Goa's first chief minister, Dayanand Bandodkar, won him the Ananadrao Lotlikar award. http://209.85.175.104/search?q=cache:1SySq7OZu64J:www.readseegoa.com/portal/modules.php%3Fname%3DInnerview%26myaction%3Dshow%26art_type%3Dgeneral%26myid%3D823+patricia+ann+alvares+goa&hl=en&ct=clnk&cd=2&client=firefox --- A freelance journalist, Patricia Ann Alvares is a graduate in English literature, with a diploma in Computers and Management Studies. Her writings reflect her passion for travelling and reading, with a focus on art and culture, fashion, music, movies and ancestral Goa.