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Seller: ancientgifts (4,181) 99.3%, Location: Lummi Island, Washington, Ships to: Worldwide, Item: 122179169491 TRANSLATE Arabic Chinese French German Greek Indonesian Italian Hindi Japanese Korean Swedish Portuguese Russian Spanish Your browser does not support JavaScript. To view this page, enable JavaScript if it is disabled or upgrade your browser. Click here to see almost 800 archaeology/ancient history books and 500 authentic ancient artifacts on our eBay store! “Traditional Jewelry of India” by Oppi Untracht. NOTE: We have 75,000 books in our library, almost 10,000 different titles. Odds are we have other copies of this same title in varying conditions, some less expensive, some better condition. We might also have different editions as well (some paperback, some hardcover, oftentimes international editions). If you don’t see what you want, please contact us and ask. We’re happy to send you a summary of the differing conditions and prices we may have for the same title. DESCRIPTION: Softcover. Publisher: Thames & Hudson (2008). Pages: 432. Size: 11¼ x 9¼ x 1¼ inches; 3¾ pounds. This comprehensive survey combines a sumptuous display and documentation of hundreds of pieces of jewelry with an illuminating discussion of how myth, religion, social structure, economics, and politics have influenced jewelry design in India. The book encompasses every area of the country, from sophisticated urban enclaves to isolated ethnic communities. Beginning with Paleothic body ornaments, the author goes on to identify the emergence of major traditional forms, such as amulets, rosaries, marriage ornaments, temple jewelry, theatrical jewelry, and adornment for animals. The illustrations are drawn from public and private collections around the world, and line drawings depict traditional design forms and techniques. 870 illustrations, 220 in color. CONDITION: NEW. HUGE new (albeit slightly shelfworn) softcover. Thames & Hudson (2008) 432 pages. Unblemished except VERY slight shelf wear to the covers. Pages are pristine; clean, crisp, unmarked, unmutilated, tightly bound, unambiguously unread. The "shelfwear" or "shopwear" evidenced is simply a slight bump to the lower back corner of the book. Large, heavy books like this tend to show accelerated shelfwear, frequently bumped, and particularly with respect to the bottom edges and corners, as due to their size and weight they are frequently the victim of careless, lazy or clumsy re-shelving. Condition is entirely consistent with new stock from an open-shelf bookstore environment (such as Barnes & Noble, or B. Dalton, for example) wherein new books might show minor signs of shelfwear/browsing/shopwear or minor superficial cosmetic blemishes, consequence of simply being shelved and re-shelved. Satisfaction unconditionally guaranteed. In stock, ready to ship. No disappointments, no excuses. PROMPT SHIPPING! HEAVILY PADDED, DAMAGE-FREE PACKAGING! #8627a. PLEASE SEE DESCRIPTIONS AND IMAGES BELOW FOR DETAILED REVIEWS AND FOR PAGES OF PICTURES FROM INSIDE OF BOOK. PLEASE SEE PUBLISHER, PROFESSIONAL, AND READER REVIEWS BELOW. PUBLISHER REVIEWS: REVIEW: The result of more than thirty-five years of research into every conceivable aspect of the subject, this survey is the first comprehensive presentation of one of the greatest of all the world’s jewelry traditions. Its strengths lie not merely in a sumptuous visual display and the documentation of hundreds of pieces, but also in the extent to which it shows the intimate relationship between the jewelry and the lives of the people of India. Alongside forms and techniques, the influence of myth, religion, social structure, economics and politics illuminate the context in which jewelry of exquisite beauty and great originality has been created. More than five thousand years of personal ornamentation are explored in a story that encompasses every area of this complex country, ranging from urban setting to isoltated ethnic communities. Beginning with Palelithic body ornaments, Oppi Untracht then identifies th emergence of major traditional forms, such as amulets, rosaries, marriage ornaments, temple jewelry, theatrical jewelry, and adornments for animals. Major themes; the goldsmith tradition, the use of gemstones, the design innovations that originated under the Mughals and the cross-cultural influences in jewelry design between India and the West, are also defined and illustrated. More than 800 illustrations are drawn from sources all over the world. Photographs of individual ornaments Are juxtaposed with others showing how pieces are made, who wears them and on what occasions. Nu7merous line drawings depict traditional design forms and techniques. Complete with a comprehensive bibliography and an invaluable list of comparative vernacular terms for Indian jeweler’s tools and materials, this encyclopedic and beautiful volume will be essential for anyone interested in jewelry, ornamentation, or the rich cultural heritage of India. With 870 illustrations, 220 in color. REVIEW: The triumphant result of more than thirty-five years of research into every conceivable aspect of the subject, this survey is the most comprehensive presentation available of one of the great jewelry traditions. Not just a sumptuous visual display and documentation of hundreds of pieces, the book describes the intimate relationship between the jewelry and the lives of people of India. The influence of myth and religion, social structure, economics and politics all illuminate the context in which jewelry of exquisite beauty has been created. The more than 800 illustrations are drawn from sources all over the world. Exquisite photographs of individual ornaments are juxtaposed with others showing how they are made, who wears them and on what occasions. Revealing line drawings depict traditional design forms and techniques. Complete with a comprehensive bibliography and an invaluable list of comparative vernacular terms for Indian jewelers’ tools and materials, this encyclopedic and beautiful volume will be essential for anyone with an interest in jewelry, ornament or the rich cultural heritage of India. REVIEW: Looks at the history, technical developments, and aesthetic tradition of Indian jewelry. REVIEW: Not just a sumptuous visual display and documentation of hundreds of pieces, the book describes the intimate relationship between the jewelry and the lives of people of India. The influence of myth and religion, social structure, economics and politics all illuminate the context in which jewelry of exquisite beauty has been created. The more than 800 illustrations are drawn from sources all over the world. Exquisite photographs of individual ornaments are juxtaposed with others showing how they are made, who wears them and on what occasions. Revealing line drawings depict traditional design forms and techniques. REVIEW: This work explores the multifarious significance given in India to decorative jewelry formed of materials as diverse as horn and feathers as well as gold and diamonds. The jewelry presented here ranges from traditional animalistic and ritual pieces to contemporary design. REVIEW: Far more than merely a display of wealth and taste, jewelry is an integral element in the lives of the people of India. This is the first book to explore Indian jewelry comprehensively as both an ongoing aesthetic tradition spanning 5,000 years and a highly significant form of cultural expression Drawing on more than 35 years of research and collecting, Oppi Untracht authoritatively surveys the major Indian jewelry forms and techniques. He also examines the many aspects of Indian culture that influence the marking and wearing of jewelry: from primitive magic and formal religion to social, political, and economical factors. The jewelry presented here is worn by many ethnic groups from every state of this vast and complex country. The nearly 900 illustrations include beautiful photographs of individual ornaments juxtaposed with others showing how they are made, who wears them -- from royalty to brides and grooms to domestic animals -- and on what occasions. Untracht, an expert on jewelry-making techniques, has created numerous line drawing that depict traditional design forms and processes. In all, this superbly produced book is the definitive resources on the subject. REVIEW: Lavishly illustrated with over 800 images, this revealing book represents the culmination of over 30 years of research and investigation of personal adornment, and the multifarious significance given in India to these decorative objects. REVIEW: The triumphant result of more than 35 years of research, this sumptuous book is a comprehensive presentation of one of the greatest of the world's jewelry traditions. The stunning display of individual ornaments is supplemented by full documentation of hundreds of pieces. More than 5,000 years of the development of personal ornament are traced, as major themes, variations on basic forms, the use of gemstones, and cross-cultural influences are analyzed and comprehensively illustrated. Alongside form and technique, the influences of myth and religion, social structure, economics and politics illuminate the context in which jewelry of exquisite beauty and great originality has been created. Complete with a comprehensive bibliography, index and an invaluable list of terms, this encyclopedic and beautiful volume is essential for anyone with an interest in the jewelry, ornament and cultural heritage of India. REVIEW: Far more than merely a display of wealth and taste, jewelry is an integral element in the lives of the people of India. Drawing on more than 35 years of collecting and research, Untracht surveys the major Indian jewelry forms and techniques, exploring Indian jewelry as both an ongoing aesthetic spanning 5,000 years and a highly significant form of cultural expression. 870 illustrations, 220 in color. REVIEW: Oppi Untracht lives in Finland and lectures and writes on traditional Indian jewelry and culture. An expert on jewelry-making techniques, Untracht also taught enameling and jewelry-making in New York for many years and is the author of several books on these subjects. He is a member of the Jewelry Historian’s Society, London, and an Honorary Fellow of the American Craft Council. REVIEW: Oppi Untracht was a Finnish-American author, educator and master metalsmith. He was an honorary member of the Society of North American Goldsmiths. Untracht authored books like "Metal Techniques for Craftsmen" and "Jewelry Concepts and Technology". REVIEW: Oppi Untracht (1922-2008) was an American master metalsmith, educator, and writer. Born in New York City, Untracht obtained his Master of Fine Arts at Columbia University in 1947. Originally trained as a photographer, he studied Indian arts and crafts and later became an expert on the jewelry of India and Nepal. In addition to being an honorary member of the Society of North American Goldsmiths, in 2000 Untracht was awarded a Lifetime American Achievement Award on behalf of the American Craft Council. His first book, "Metal Techniques for Craftsmen" is considered a standard training textbook for silversmiths. REVIEW: Oppi Untracht was born in Brooklyn on November 17, 1922. After graduating in 1946 from New York University, he attended Columbia University and obtained his master’s degree in art education in 1947. He studied photography with Lisette Model and Berenice Abbott and worked briefly as a photojournalist. He taught himself to enamel in 1947 and was able, in turn, to teach the process at the New School of Printing and Enameling at the Brooklyn Museum of Art School from 1953 until 1963. He exhibited and sold his enamels at America House in New York, where his work gained recognition for its painterly abstract style. Not satisfied to use only the traditional methods, he embarked on an exploration of new ways to apply enamels. His experiments were presented in a book entitled Enameling on Metal, which was published in 1957. Besides describing and illustrating traditional methods of enameling, Untracht also presented the experimental methods he had used to achieve a variety of effects. Overfiring and using the oxidized areas as part of the overall pattern were encouraged. New materials that had become available since the war were introduced in his book. The book made a strong impact on the field of enameling and encouraged a new generation of artists to use Untracht’s methods in their work. In 1960 Untracht married Saara Hopea, and the two embarked on a collaborative endeavor in the field of enameling. Their works, predominantly plates and bowls, were sold in many galleries throughout the country in the 1960s. He participated in a number of juried exhibitions, including the New York Annual, where he won a prize in 1962 for his enamels. In 1962 the Untrachts were invited to join an artistic cooperative in New York, where they could have access to large kilns to produce enamels for architectural applications. The venture was short-lived, but a number of large panels were created. He traveled extensively. In 1957 he was awarded a Fulbright fellowship that allowed him to travel throughout India for two years and photograph its traditional and contemporary crafts. He again embarked on a four-year trip in 1963, living in Nepal and India, and documenting the crafts of the various regions. Upon the conclusion of the trip in 1967, the Untrachts moved to Finland. There he was able to focus on writing and published several books, including Metal Techniques for Craftsmen (1968); Jewelry Concepts and Technology (1982); Saara Hopea-Untracht: Life and Work (1988), a tribute to his wife; and Traditional Jewelry of India (1997). Untracht has contributed to other volumes and has written numerous journal articles. He is a member of the Jewelry Historian’s Society of London. In 1998 he was made an honorary fellow of the American Crafts Council and was given its lifetime achievement award for contributions to the field of crafts, and in 1999 he was named an honorary member of the Society of North American Goldsmiths. Untracht spent the last decades of his life in the historic town of Porvoo, Finland. REVIEW: TABLE OF CONTENTS: Preface. Acknowledgements. Introducing Traditional Indian Jewelry. Copies, Fakes, and Pastiches. Note Regarding Indian Vernacular Terms. 1. Origins: Early Ornaments. Paleolithic Ornament: Andaman and Nicobar Islands. Ash, Mud, and Pigment. Hindu Sectarian Forehead Masks. Sectarian Body Stamps. Seal Branding. Mehndi: A Festive Temporary “Tattoo”. Mehndi and Marriage. The Mehndi Process. Tattooing: A Permanent Body Symbol. Natural Materials. Pavitram: Ring of Sacred Kusha Grass. Flowers as Personal Decoration. Flower Garlands. Flowers as Erotic Stimulants. The Svayambara Marriage Garland. Flowers as Deity-Attribute Symbols. Flower Forms in Jewelry. Seeds, Leaves, and Vines. Wood in Ornaments. Sring Ornaments. The Sacred Thread and Caste. The Rakhi. The Salgirah. Animanl Ornaments: Materials and Subjects. Feathers. Birds with Decorative Plumage. Feather Ornaments. Cowrie Shells: Marine Currency as Ornaments. Snakes: Ophiolatry-Inspired Ornaments. Magic Nagas and Magic Gems. Naga Adornment: Remnants of Neolithic Times. Naga Ceremonial Dress: Manifestations of Group Identity. Naga Ornaments: Symbols of Status and Power. Head-Taking: Interclan Ritualized Aggression. Inheritance Ornaments. Spirits in Material Objects: Endowing the Inanimate with Soul. Materials Used in Naga Ornaments. Local Materials: Exploiting Environmental Resources. Organic Vegetable Substances. Organic Animal Materials. Imported Materials: Resources Beyond Nagaland. Ivory, Shells, Metals, Hardstone Beads, Glass Beads. Naga Ornaments in Decline: A Clash of Symbols. 2. Formulating the Indian Jewelry Tradition. Roasries of India. The Hindu Rosary. The Gayatri Japan. Materials Used for Hindu Rosaries. The Muslim Rosary. The Buddhist Rosary. The Hardstone Bead Trade. Early Interest in Hardstones: Khambhat, Gujarat. Natural Styone Forms of Aniconic Hindu Deities. The Shalagrama. The Banalinga. Europeans Expand the Hardstone-Bead Market. Present-Day Khambhat and the Hardstone Bead Trade. Hardstone Bead Manufacturing. Agate Sources. Heat Treatment of Agates. Cutting and Shaping the Stone. Polishing the Beads. Drilling Holes in Hardstone Beads. Hardstone Names and Bead Forms. Popular Beads of Organic Substances. Red Coral. Amber. Papanaidupetta, Andhra Pradesh: Making Glass Seed Beads. Amulets: Semiotic Symbols of Supernatural Power. How Amulets Work: Negative and Positive-Acting Amulets. Ancient Vedic Amulets: Magic in the Guise of Religion. Activating an Amulet. Basic Amulet Forms. Tiger-Claw Amulets. Victorian Tiger-Claw Jewelry: A Cross-Cultural View. Hindu Plaque Amulets. Selecting the Plaque Amulet Deity. Plaque Amulet Shapes. Making a Plaque Amulet. Weapon-Shaped Amulets: Apotropaic Protection. Vishnupada: Sacred-Footprint Amulet. The Hanuman Pectoral Plaque. Palindromic “Magic Squares” in Hindu and Islamic Amulets. Metaphysical and Religious Symbolism. Hindu Palindromic Squares. Planetary Palindromic Squares. The Haldili: An Islamic Nephrite Amulet. Making a Haldili. Haldili Surface Ornamentation: Jeweled and Inscribed. The Kundan Inlay Process. Stone-Setting in Jade. Jade: Origin and Characteristics. Coins as Amuletic Jewelry. Later British-Indian Coinage. Amulet Container Forms: Protecting Magical Contents. Yantras in Hindu Container Amulets. Lingayat Lingam Caskets: Ornamental Cult Objects. Tibetan Ornaments: Sub-Himalayan Jewelry. The Tibetan Ga’u Amulet Container. Ga’u Magical Contents. Ga’u Surface Decoration. The Tibetan dZi Bead. The Perak: Ladakhi Women’s Head Ornaments. Other Ladakhi Ornaments. Marriage and Jewelry. Regional Marriage Ornaments. Northern India. Southern India. Hindu Marriage Custom and Ornaments. The Hindu Wedding. The Mangalsutram: Marriage Cord. The Thali: Primary Southern Marriage Ornament. Married Hindu Women and Their Jewelry. Second-Marriage Amulet. Muslim Marriage Custom and Ornaments. The Bangle: A Universal Indian Marriage Ornament. Lac Bangles. Lac Bangle Manufacture: Jaipur Rajasthan. Lac-cum-Glass Bangles: Hyderabad, Andhra Pradesh. Conch-Shell Bangles. Ivory Bangles. Glass Bangles. Glass-Bangle Symbolism: Subhagya. Metal Bangles. Nose Ornaments as Marriage Symbols. Unique Vernacular Ornaments. Temple Jewelry. The Hindu Temple Complex and Treasury. Types of Temple Jewelry. Ratna Darshana: Viewing a Gemstone-Bedecked Deity. Theatrical Jewelry. Ornaments for Animals. Cow – Bullock or Zebu – Buffalo – Camel – Horse – Elephant. 3. Indian Jewelry Typology: From Head to Toe. Signet Rings: Sigillographic Power Symbols. Arsi: The Right Thumb Mirror Ring. The Hololithic Archer’s Thumb Ring. 4. Gold and Silver: Makers' Means, Users' Obsession. Gold Fever. Raw Forms of Precious Metals. The Indian Goldsmith. The Goldsmith Guild. Indian Goldsmith Weights. Distinctive Goldsmith Techniques. Granulation: A Multicultural Technique. Extant Gandharan Jewelry: Taxila. Maruyan Jewelry. Kautilya’s Arthasastra. Post-Maruyan Granulation. The Granulation Process. Babul or Kikar Work: Delhi. Filigree: Objects of Wire and Air. Wire: The Raw Material. Anatomy of a Filigree Object. Filler Units: The Vocabulary of Filigree. Filigree Objects. Thewa Work. The Thewa Techjnique: Background. The Thewa Process. Thewa Objects. 5. Gemstones. Nava-Ratna: A Celestial Palladium. The Greater and Lesser Gems: Maharatnani and Uparatnani. Nava-Graha: The Nine Celestial Hindu Deities. Relating Nava-Ratna Gemstones to Nava-Graha Deities. The Nava-Grahas and Their Attributes. Nava-Ratna Arrangement: A Universal Mandala. The Nava-Ratna Finger Ring: An Apotropaic Amulet. The Nava-Ratna Rosary. The Five Maharatnani Gemstones. Diamonds. Golconda Diamonds: Factnand Fantasy. Mughal Magnificence Expressed in Gemstones. Tavenier: “Devoted to Diamond”. The Rose Cut and Irregular Diamond Forms. The Mughal-Style Faceted Diamond. Mughal-Style Diamond Forms and Cuts. The European Diamond Trade with India. The Contemporary Indian Diamond Industry. Brazilian and African Diamonds. Famous Golconda Diamonds. Rubies. Balas Ruby: Red Spinel. Sapphires. Emeralds. Colombian Emeralds: Obsession of Maharajas. Emerald Forms in Indian Jewelry. Carved Emerald Amulets. The Emerald Industry in India Todsy. Pearls. The Pearl-Fishing Industry. Synthetic Gemstones. Gemstone Color Symbolism and Gem Therapy. Pearls as Medicine. 6. The Mughal Jewelry Tradition. Mughal Ceremony and Jewelry in Miniature Paintings. The Emperor’s Weighing Festival. Mughal Men’s Ornaments: Head – Neck – Arms – Fingers – Torso – Daggers – Ankles. Married Women’s Ornaments: Head – Nose – Ears – Neck – Arms – Fingers- Waist – Feet. Women’s Jewelry in Aurangzeb’s Court. Regal and Rural Jewelry: Polarity and Hybrid Developments. Jaipur Jewelry Forms: Plain or Enameled: Head – Ears – Neck – Pendants – Shoulders – Arms – Fingers – Waist – Feet. Mughal-Style Enameling: An Aggregate of Skills. Designing. Goldsmithing. Engraving. Engraving for Champleve Enameling. Enameling. Enameling Preparation: The Melt. Enamel Color-Firing Sequence. Jaipur Enameling Types. Jaipur Styles of Enamel Work. Unusual Enameling Techniques. The Paradox of Reserve-Side Enameling. Multan Enameled Jewelry. Varansi Pink Enamel. Gemstone Setting Kundan Style. The Kundan Process. Pats’a Work: Yarn Craft in Jewelry. Patu’a Yarns. Patu’a Tools and Techniques. The Paranda: A Popular Patu’a Product. 7. Euro-Indian and Indo-European Jewelry: A Cross-Cultural Exchange. Early Exchanges. Mughal Cameo Carving: A European Glyptic Transplant. A Shah Jahan Cameo: Prince Khurram Attacks a Lion. Mughal Minisature Portraits: Ivory Icons as Jewelry Insets. Nineteenth-Century Indian Portrait Miniatures. Indian Sarpeches and European Aigrettes: Turban Ornament Interchange. Turban Feathers: Kalgi, the Indian Aigrette. The Sarpech. The Sarpatti. The European Aigrette. Egret Feathers and European Fashion. The Platinum Indo-European Sarpech-Aigrette. Swami Jewelry: A Euro-Indian Phenomenon. Western Oriental-Design Imperialism. Hindu and Islamic, “Indian” and “Persian”. Differentiating Indian and European Jewelry. Western Jewelers and Indo-European Jewelry. Carlo and Arthur Giuliano. Robert Phillips. India and Arts and Crafts Jewelry. Louise Comfort Tiffany. Maharajas and the Grand Joailliers. Carier. Other Important Grans Joailliers. Indo-European Art Deco Jewelry. Turra Tassels: Precious Passementerie. Indian Emeralds in Art Decon Jewelry. Multicolored Carved Stones in Art Deco Jewelry. Peals in the Art Deco Style. Art Deco Platinum Settings. Epilogue. Traditional Indian Jewelers' Tools and Materials: Vernacular Terms. Selected Bibliography. Index. Photo Credits. PROFESSIONAL REVIEWS: REVIEW: Following Untracht as he discusses all the permutations and features of Indian jewelry is much like browsing through a “National Geographic” magazine or two. The pictures and captions catch the eye, but it is the text--nonscholarly, spritely prose--that truly educates and informs. And the author, through years of residency, research, and lectures, prepares all for a thorough backgrounding in a much neglected subject. He begins well before the establishment of goldsmithery, examining the body decorations of Bengal Bay islanders as well as the religious ornaments of various regional peoples. Then, in much-illustrated detail, come chapters on the tradition of entire-body decoration, actual examples and explanations of meanings, the use of gold and silver and gemstones, three specific centuries of artistry (the Mughal dynasty), and the interchange between and cross-cultural influences of European and Indian jewelry design. A wondrous collection of data and visuals documenting 5,000 continuous years of jewelry design. [Barbara Jacobs, Booklist]. REVIEW: The most comprehensive work in its field…superlative! [Asian Affairs]. REVIEW: An excellent sourcebook for jewelry and silver-smithing students. [Antiques Bulletin]. REVIEW: Unrivalled in its scope. [The Birmingham Post]. READER REVIEWS: REVIEW: Oppi's book is magnificent. It is a culmination of over thirty years of Oppi's research. His book covers more than just Indian jewelry, but forehead marks and henna mendhi. Inspired by trips to New York's museums when he was young, Oppi crafts a anthropological journey through a fascinating history of human ornamentation, beginning with wood ash and mud. Oppi traveled extensively to personally research his subject in association with scholarships he won, including a Fulbright scholarship and funding from John D Rockefeller III. He shows the use of natural items in jewelry, such as leaves, flowers, seeds, vines and wood. Unusual jewelry materials like anteater claws are pictured. Of course, gemstones and precious metals are included. There are photos of elegant gold filigree and fist-sized gemstones. My favorite part of the book is called "Typology from Head to Toe" in which Oppi takes you on a journey in pictures of people wearing ornaments in their hair to those worn on the toes. The book includes an extensive index and bibliography. It is a very human book, showing how ornaments are worn by people, not just showing photos of the ornaments alone as many other ethnic jewelry books do. Although you might think the subject of Indian jewelry is narrow before you see the book, a glance through the book will make you want to own it even though it is an expensive publication. REVIEW: Untracht was an expert of exceptional standing in the world of jewelry, and not only on that which came from India. But even if this was the only book he had written it would have been not only the best book on its subject, but one that significantly exceeds in merit most specialized books on specific areas in the field of ethnic jewelry. This is not a coffee-table book, though it is profusely illustrated and a joy to peruse, but a thorough-going, very learned and scholarly account of its subject. One can see again and again to what extent the author has devoted himself, for many years, to an intensive study of the complex and extremely varied body of Indian ethnic adornment. Those who might think immediately of just gold, silver and precious stones, for example, will not only find themselves satisfied, but also surprised by how much else - artistically in no sense inferior - they will find. One learns, as should be the case with any good book on ethnic adornment, not only much about the pieces shown, but also about their creators, and the important role which the objects played in their cultures. In short, this is an outstanding book, and one that anyone collecting Indian ethnic jewelry should own. As collectors we (my wife Truus and I) have been gratified to use it intensely after its publication, after we had, along with other devotees, looked out for the book for several years. This study has certainly been worth waiting for! Unhesitatingly recommended. And considering the magnificent and erudite content, the paperback is a steal at the price. REVIEW: This is a book that educates the collector as well as jewelry making individuals to show a more interesting design. The techniques of making jewelry is also helpful in determining how complicated is the process. The photography is excellent and this book helps to identify jewelry of the different regions of India as well as tribal groups. The book is especially helpful because the author takes you on a journey in pictures showing how the people wear ornaments in their hair, bangles and necklaces. This book helped me determine that the recent ethnic necklace that I purchased is probably from Gujarat, since the style is wrapped silver. I definitely would recommend this book to anyone interested in the Indian culture and jewelry. REVIEW: This is a very well researched and interesting book as you would expect from Oppi Untracht. The main focus is on tribal jewelry, with specific notes on the construction, meaning and evolution. There are many pictures throughout, both black/white and color as well as schematic drawings. For anyone with an interest in tribal jewelry this book is a must. If you are interested in medieval jewelry from the Indian sub-continent this book provides great information on construction and tradition but has comparatively few images prior to 1600 AD. REVIEW: This is a thoroughly interesting well researched read on its subject, which is as the title suggests, on the many styles of traditional jewelry from past and present, and from all over India. Mainly it focuses on tribal jewelry and all the different types of body jewelry that is worn and the reasons behind it, and why certain tribes and religious groups wear the different pieces and styles of jewelry they do. It has many pictures throughout some in color, some black and white diagrams, etc., but the writing also makes for an informative read. Perhaps a little more space could have been given to the royal jewels of the past as this is a topic which is only briefly touched upon, but for anyone with an interest in tribal jewelry, this book is a must. REVIEW: Jewelry is not just a piece of metal or precious stone studded accessories. A lot can be told about an era just by looking at a piece of jewelry which was designed then. "Traditional Jewelry Of India" illustrates how economics, politics, religion, social structure and myth have a direct influence on the designing of jewelry. The book covers almost all the areas of the country and jewelry used for various occasions as well. Giving an in depth study about jewelry designing, this book is an interesting read. REVIEW: Oppi's thoroughness and attention to the detail in this book is amazing. Pictures and illustrations are just magnificent. Oppi covers the jewelry of maharajas to jewelry of tribal people. The jewelry descriptions in this book include every region and every style there is in India. I bought this book when I was asked to talk about India's jewelry at an art museum. This book definitely improved my knowledge about the subject. REVIEW: An excellent and well researched study with extraordinary photographs by a well known scholar of Indian art. 430 interesting pages that are very well presented to the reader. You'll find possibly more detail than you may need, but you can return later for the items you missed. REVIEW: The ultimate work on this subject, the author's 30-year involvement is reflected in history and analysis of the art and workmanship of jewelry in India. Over 800 illustrations. A superb book and valuable addition to the collector of ethnic jewelry library, as well as a great gift. REVIEW: The photographs and information in this book are lovely, astonishing, and intriguing. I have been told that the author was the absolute authority on traditional Indian jewelry. Although it is paperback, the quality of each page is very good. REVIEW: Bought this book for my wife few years ago. She loves it. There are many pictures of tribal style jewelry. Contemporary urban designs also are very beautiful. Good details on technique are available in book. REVIEW: One of the best books on ethnic jewelry (and India has a plethora of magnificent pieces.) It is difficult to control your salivary glands as you rifle through the pages, but you can enjoy it over and over again if it's in your possession! REVIEW: Jewelry designing is certainly an art by itself. The book "Traditional Jewelry of India" gives you an insight into the wonderful and glorious history of India’s traditional jewelry and what went into making masterpieces. REVIEW: The author greatly enhanced my understanding of the significance of gold within the culture(s) of India. The phrase “good as gold” certainly is explained. If I can afford another of the author’s books (they are not inexpensive, seemingly there is huge demand), I'll buy it. REVIEW: Beautifully illustrated book - packed with color pictures. A real feast for jewelry lovers. REVIEW: Magnificent, stunning picture with nice, clear details. Well written and fascinating descriptions. REVIEW: A very opulent book. Though initially I had my doubts, it turns out to be well worth the cost. REVIEW: I first read this book as a young student of architecture. Opened my eyes to the role of culture in design. I always ship books Media Mail in a padded mailer. This book is shipped FOR FREE via USPS INSURED media mail (“book rate”). All domestic shipments and most international shipments will include free USPS Delivery Confirmation (you might be able to update the status of your shipment on-line at the USPS Web Site) and free insurance coverage. A small percentage of international shipments may require an additional fee for tracking and/or delivery confirmation. If you are concerned about a little wear and tear to the book in transit, I would suggest a boxed shipment - it is an extra $1.00. Whether via padded mailer or box, we will give discounts for multiple purchases. International orders are welcome, but shipping costs are substantially higher. Most international orders cost an additional $12.99 to $33.99 for an insuredshipment in a heavily padded mailer, and typically includes some form of rudimentary tracking and/or delivery confirmation (though for some countries, this is only available at additional cost). However this book is quite heavy, and it is too large to fit into a flat rate mailer. Therefore the shipping costs are somewhat higher than what is otherwise ordinary. There is a discount program which can cut postage costs by 50% to 75% if you’re buying about half-a-dozen books or more (5 kilos+). Rates and available services vary a bit from country to country. You can email or message me for a shipping cost quote, but I assure you they are as reasonable as USPS rates allow, and if it turns out the rate is too high for your pocketbook, we will cancel the sale at your request. ADDITIONAL PURCHASES do receive a VERY LARGE discount, typically about $5 per book (for each additional book after the first) so as to reward you for the economies of combined shipping/insurance costs. Your purchase will ordinarily be shipped within 48 hours of payment. We package as well as anyone in the business, with lots of protective padding and containers. All of our shipments are sent via insured mail so as to comply with PayPal requirements. We do NOT recommend uninsured shipments, and expressly disclaim any responsibility for the loss of an uninsured shipment. Unfortunately the contents of parcels are easily “lost” or misdelivered by postal employees – even in the USA. That’s why all of our domestic shipments (and most international) shipments include a USPS delivery confirmation tag; or are trackable or traceable, and all shipments (international and domestic) are insured. We do offer U.S. Postal Service Priority Mail, Registered Mail, and Express Mail for both international and domestic shipments, as well United Parcel Service (UPS) and Federal Express (Fed-Ex). Please ask for a rate quotation. We will accept whatever payment method you are most comfortable with. If upon receipt of the item you are disappointed for any reason whatever, I offer a no questions asked return policy. Send it back, I will give you a complete refund of the purchase price (less our original shipping costs). Most of the items I offer come from the collection of a family friend who was active in the field of Archaeology for over forty years. However many of the items also come from purchases I make in Eastern Europe, India, and from the Levant (Eastern Mediterranean/Near East) from various institutions and dealers. Though I have always had an interest in archaeology, my own academic background was in sociology and cultural anthropology. After my retirement however, I found myself drawn to archaeology as well. Aside from my own personal collection, I have made extensive and frequent additions of my own via purchases on Ebay (of course), as well as many purchases from both dealers and institutions throughout the world - but especially in the Near East and in Eastern Europe. I spend over half of my year out of the United States, and have spent much of my life either in India or Eastern Europe. In fact much of what we generate on Yahoo, Amazon and Ebay goes to support The Hermitage Museum in St. Petersburg, as well as some other worthy institutions in Europe connected with Anthropology and Archaeology. I acquire some small but interesting collections overseas from time-to-time, and have as well some duplicate items within my own collection which I occasionally decide to part with. Though I have a collection of ancient coins numbering in the tens of thousands, my primary interest is in ancient jewelry. My wife also is an active participant in the "business" of antique and ancient jewelry, and is from Russia. I would be happy to provide you with a certificate/guarantee of authenticity for any item you purchase from me. There is a $2 fee for mailing under separate cover. Whenever I am overseas I have made arrangements for purchases to be shipped out via domestic mail. If I am in the field, you may have to wait for a week or two for a COA to arrive via international air mail. But you can be sure your purchase will arrive properly packaged and promptly - even if I am absent. And when I am in a remote field location with merely a notebook computer, at times I am not able to access my email for a day or two, so be patient, I will always respond to every email. Please see our "ADDITIONAL TERMS OF SALE."

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