Repatriation, or the process of returning a person or object back to its point of origin, has been a topic of cultural, ethical, political and legal debates for several years now. These debates have primarily arisen from former colonies staking claim to objects that once belonged to them. The process of return, however, is a complicated one, and raises a multitude of legal and moral questions. Nonetheless, nations and communities often seek the repatriation of objects they deem their cultural property as this helps in shaping their identity and preserving their history.
In a number of cases when repatriation is unsuccessful, communities often feel a deep sense of injustice and the festering of wounds of colonialism, slavery, war and destruction.
While studying ethics of cultural heritage in university I came across several cases of repatriation, the more complicated the legal nuances were the more interesting the case would get. Questions arising would range from aspects of ownership such as national versus individual as well as how far back in time do we go in determining the present owner.
The type of repatriation can range from famous international cases such as the Elgin Marbles, Nefertiti’s Bust or the Kohinoor diamond.
However, for the less complicated ones, auction houses seem to be doing a rather fantastic job. Bridging missing links, building on provenance and bringing back once forgotten, long lost jewels to the forefront and to their possible home turfs if not owner families.
Historically, in India (like many other parts of the world), the fate of paintings and buildings, jewellery too, rested on the patronage of royalty.
Presently we seem to have moved from 565 princely states of India to the ‘Forbes 500’. This means that the responsibility of patronage now rests in the hands of the wealthy business tycoons and industrial lords of the country.
A clear testament to this has been the recent Ambani pre-wedding. The celebrations of Anant Ambani and Radhika Merchant seem to have taken over social media.
Many spoke about the designer clothes, A-list performers, ostentation of the jewels adorned or the cost and value of them. However, while these festivities put India on a global map (for better or worse), I cannot help but explore the case for repatriation. Or the full circle some exquisite jewellery pieces seem to have made.
Nita Ambani has inspired me (and many others) to really deep dive into learning about the eye-popping ornaments she adorned.
It is the journey of these sparkling, glittering pieces that evokes a sense of nostalgia and homecoming for me. Following India’s Independence in 1947, most Indian royal families struggled to hold on to their assets. Be it grand palaces, opulent sprawling residences or jewellery, artefacts, or works of art. After The Emergency in 1971 and the abolition of the Privy Purses and Princely Privileges Act, circumstances only got more challenging. Stunned by the betrayal of a promise given by the government, burdened with colossal overheads for maintenance, most royal families had no option but to sell their assets in order to survive. Many dynasties and families simply came to an end.
So for me, while I am no jewellery expert, there is something almost serendipitous about seeing these pieces of art that one only read about in books be rediscovered, reinvented and brought back home.
Several such pieces seem to have found their way back to India, breaking their journey at the Christie’s 2019 auction, ‘Maharajas & Mughal Magnificence’. For example, Mrs Ambani was seen wearing a massive diamond ring, poetically called the Mirror of Paradise, which was also part of this auction. A captivating, almost blinding, Golconda diamond of 52.58-carats. Some of the most valuable diamonds in history (Kohinoor included) trace their origin to the diamond fields of India. Named after the Golconda mines, these diamonds found in Southern India, exude superior luminosity and transparency. While the diamond may have shuffled several hands, it continues to be referred to as a prized possession of the nation and not the property of an individual.
A civilisation as ancient as Indian, may have had several cultural highs and lows. The Mughal era was a cultural renaissance, with versatility, innovation, skill and design reaching heights unachievable even today. Exquisite works of art were created, with unique craftsmanship, many of which got lost in the sands of time.
Another such work, from the same auction and worn by Ambani shortly after Jamnagar festivities, is an antique spinel, ruby and diamond sarpech. Traditionally, a sarpech is worn on the headgear or turban as an ornament. A popular, almost mandatory, men's ornament of princely India. Reinventing this to contemporary times, she wears this headpiece as an armband or ‘baazuband’, proving that the beauty of Indian antique jewels and innovative craftsmanship is in their versatility.
Anklets and tiaras being converted to neck chokers, buttons becoming earrings, the list is endless. It is style statements such as these and the conversations they ignite, which take me back to that university classroom.
Nita Ambani could have worn any new, trendy piece of jewellery. But here, she leads the way in showing that repatriation is the new patronage.
Bejewelled: From Princely India to India Inc
Nita Ambani shows that repatriation is the new patronage
