22 N AVA R AT N A B A Z U B A N D S
INDIA (JAIPUR), CIRCA 1850 LENGTH: 10.5 CM EACH WIDTH: 1 CM EACH
A pair of gold and enamelled gem-set navaratna bazubands, each bazuband comprising nine cut and polished gemstones set in square gold collets in the kundan technique. The nine navaratna gemstones (maharatnani) on these bazubands are hyacinth, coral, pearl, diamond, ruby, blue sapphire, emerald, topaz and cat’s eye. The stones are of equal size but presented in a variety of cuts: cabochon, flat-cut and faceted. At the end of each bazuband is a diamond set in a leaf-shaped finial, from which extend the silk cords, toggles and loops for fastening the bazubands. The reverse of each bazuband is finely enamelled in each segment with a red quatrefoil flower against a white ground. Four cusped red petals radiate from a red circle at the centre, with green enamels enlivening the corner spandrels. The leaf shaped finials are enamelled with red trefoil flowers or leaves, and the edges finished with green enamel. Combined in a traditional manner in a single ornament, the arrangement of gemstones seen here is called the navaratna. Each stone is associated with a Hindu deity, with the arrangement of gemstones being symbolic of the nine celestial deities
or navagrahas. In this form they constitute a powerful amulet that polarises all space in relation to the Sun, the giver of life, and man in relation to the Universe. In doing so, the navaratna jewels become a manifestation of the Divine plane for every living creature.1 Tradition dictates that the gemstones should all be of the same size, so that equal importance is given to each deity, although sometimes the ruby, symbolising the Sun, is the largest.2 The stones also have to be flawless, as only then do they have auspicious powers that can protect one from all manner of dangers. Flawed stones have the opposite effect. For a detailed discussion of the naravarata gemstones, see Oppi Untracht’s chapter, “Nava-ratna: A Celestial Palladium”, in his book, Traditional Jewelry of India, 1997, pp. 304-311. On p. 305, Untracht lists the nine celestial deities as follows: the Sun (Surya); Moon (Candra); Mercury (Budha); Venus (Shukra); Saturn (Shani); Mars (Mangala); Jupiter (Brhaspati); Ascending Node or Dragon’s Head (Rahu); and the Descending Node or Dragon’s Tail (Ketu). On p. 306, Untracht provides a chart that details the attributes, powers, vehicles, colours and corresponding metals, elements, grains and plants of each deity.
myth that appears in its fullest form in Buddhabhatta’s Ratanpariksa, an ancient scientific treatise on the testing of gemstones dating to the fourth century. The demon Bala (or Vala) went to heaven with the intention of conquering Indra, but the gods persuaded him to become instead their meritorious sacrifice. They slaughtered and dismembered him, each grabbing a part of his body, which was immediately transmuted into various precious gemstones.3 From Bala’s blood came ruby; from his teeth, pearl; his bile, emerald; his bones, diamond; his eyes, sapphire; his flesh, coral; his skin, topaz; marrow, chrysoberyl; body fluid, beryl; fingernails, cat’s eye; fat, rock crystal; and semen, bhisma, an unspecified stone.4 As the gods were nine in number, this particular gemstone group became the nine celestial gemstones. Assembled as a navaratna group, they create an amulet of great defensive and remedial advantage. The gemstones possess exceptional magic power by providing a sympathetic medium for the transmission of stored energy from the planets, which then cast their cosmic influence on the wearer.5
References: 1. Oppi Untracht, Traditional Jewelry of India, 1997, p. 304. 2. Ibid. 3. Ibid., p. 307.
Untracht also relates the origins of the gemstones as described in the
4. Ibid. 5. Ibid.