Whatever the reasons for this ever prevailing preference for this design, the foremost among them is perhaps its ability : one of its beauties, to hold an arm, the arm or the forearm, but without concealing its glow that bursting across its windows transforms into tiny roundels of light illuminating within and beyond the frame containing it; and, here the interplay of light begins : the skin’s lustre infuses into the metal’s, and the metal’s, into the skin’s, and what is doubled is re-doubled, and the chain goes on incessant : an unsung song the bracelet echoes with. An ornament with a blind face may not be endowed with such ability as to first transform the beauty into light, and then surge the light into the rhythm – into the unsung song.
While the design of this bracelet is traditional and ethnic, with its rich gold-plating endowing it with far greater lustre and classicism it acquires the status of a beauty-ornament and shifts from the arm of a woman of Maru-bhoomi – desert, of western Rajasthan, to the forearm of a damsel of rank, a diplomat in a foreign land revealing her Indian identity, a professional in office or field revealing her womanly grace, or one in a social gathering revealing her distinction. Its contemporaneousness reflects also in the method of its use. While traditional bracelet or armlet is put on in pairs, one on each wrist, or arm – the arm being in greater preference, contemporary fashions prefer its use in single, and strictly on the forearm, more often, the right.
This description by Prof. P.C. Jain and Dr. Daljeet. Prof. Jain specializes on the aesthetics of literature and is the author of numerous books on Indian art and culture. Dr. Daljeet is the curator of the Miniature Painting Gallery, National Museum, New Delhi. They have both collaborated together on a number of books. .
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