Gulabi Meenakari: The Soulful Pink of Banaras
In an era some 45–50 years ago, the jewelled traditions of India glimmered in their prime, when the rare mastery over the inspection of eighty-four distinct types of gemstones was held by a privileged few. It was a time when around 5,000 jeweller families across the subcontinent knew of one another, connected through kinship and craft, supporting each other like a great extended family across regions.
Amidst this gilded world, Banarasi Gulabi Meenakari — the art of pink enameling — flourished uniquely in Banaras, while its counterpart, Jaipuri Laal Meenakari, took root in Jaipur. Gulabi Meena was not merely an adornment; it was poetry painted on precious metals, a tradition so refined that even today it claims pride of place in global museums, amongst art collectors and at prestigious auctions around the world.
There was a time when Banaras, aside from its zamindari estates, had little by way of great industry. As the zamindari system faded, so too did much of the city's financial stability. It was then that heirloom pieces of Gulabi Meenakari, held close through generations, were reluctantly sold — making their way into the global consciousness and solidifying the art’s international reputation.
A Meenakar — a practitioner of Meenakari — is always first an artist, then a smith. The very word Meenakari is Persian in origin, derived from Meenu, referring to the heavenly blue. Interestingly, Gulabi Meenakari was also known as Gulkari — the craft of flowers — owing to its delicate, floral designs. The art's fame traces back to the Mughal period; Abu'l-Fazl, the grand historian of Akbar's court, meticulously recorded the glory of Meenakari in the Ain-i-Akbari.
It is said that during the 18th century, under the reign of Asaf-ud-Daula, a master artisan named Kaiser Agha traveled from Kabul to Banaras, bringing with him the secrets of enameling learned in the courts of Kabul. From him, the goldsmiths of Banaras inherited the divine art of Gulabi Meenakari, weaving it into the cultural fabric of the Awadh region. The prominence of blue, often intertwined with the pink, hints at the Islamic influence of that time.
Notably, the fabled jewelers of Lahore practiced a form of desi Gulabi Meena, yet guarded their techniques with fierce secrecy, teaching it to no one beyond their lineage.
The temperament of Banaras, too, mirrors this gentle pink hue. Locals often speak of the city’s gulabi tabiyat — a "pink temperament" — evoking notions of a mellow spirit, much like the soft intoxication of gulabi nasha, the sweet bhang drunk during Holi festivities. This spirit comes alive particularly during the season of Chaiti — when desi roses bloom, temples are dressed in sacred finery, and heartfelt songs of longing fill the air.
On the ghats of Banaras, especially during Bhudwa Mangal (Big Tuesday), Holi was once celebrated with great revelry — showers of flowers from grand boats on the Ganges, a sight to behold, where pinks and blues mingled with the golden light of dawn.
Photo Source : Prabhasakshi
Yet, with time, tides changed. Today, commercial trends push for jewelry to match every attire, diminishing the soulful essence of Banarasi Gulabi Meenakari. Increased variety has often come at the cost of quality. As with the Taj Mahal, true masterpieces are born only under the loving gaze of a patient patron, not under the ticking clock of mass production.
Once, jewelers were venerated members of society, confidantes of royalty and industrialists alike. But with the abolition of princely states post-1947 and policies like the Gold Control Act, the hand-crafted jewelry tradition suffered a grievous blow.
True Banarasi Gulabi Meenakari demands a quiet, meditative mind. It requires the artisan to sit, breathe, and delicately draw out the soul of the metal. Today’s fast-paced world, alas, leaves little room for such contemplation. Only about 10–15 master karigars continue to carry this sacred fire, their work blossoming best when left unpressured, free to follow their whimsical muse.
In the evenings of old Banaras, after a day’s delicate work, these whimsical artisans would gather, share a bowl of bhang, sing songs, and celebrate their camaraderie. It was never merely a profession; it was a passionate affair of the heart — a devotion that birthed masterpieces now nearly impossible to replicate.
For in Banaras, from Assi to Varuna, the city was never just a city — it was, and remains, one great loving family, sticking together through thick and thin.
A Dream in Enamel
Imagine Maharani Radhika, in a serene slumber, dreaming of a city adorned with the finest jewels of Vrishbhanu, where even the moonlight rests upon beds of blossoms. Such is the allure of Banarasi Gulabi Meenakari, often celebrated in the traditional Chaithi songs sung during the month of Chaitra, weaving tales of divine beauty and craftsmanship.
"Ki nagari naveli
Albeli vrishbhanu ke jeware jadau
Nakhshiklo sajayo hai
Tu phuloon ke sejon pe soye rahi chandramukhi".
Even the songs of chaithi will find mention of Gulabi Meenakari.
In the Hindu mythology, Maharani Radhika, more widely known as Radha, stands as the epitome of devotion and divine love. She is revered as the eternal consort of Lord Krishna and is considered an incarnation of the goddess Lakshmi. Radha's life and love for Krishna have inspired countless devotional songs, poems, and art forms, including the exquisite Gulabi Meenakari. Radha was born to King Vrishabhanu and Queen Kirtida in the village of Barsana, located in the Braj region of present-day Uttar Pradesh, India. According to the Padma Purana and other sacred texts, Vrishabhanu was a Yadava chieftain and a devout follower of Lord Vishnu. In a previous life, he was King Suchandra, who, along with his wife Kalavati, performed intense penance and received a boon from Lord Brahma to have the goddess Lakshmi as their daughter in their next birth. Thus, in the Dvapara Yuga, they were reborn as Vrishabhanu and Kirtida, and Radha was born to them as the embodiment of divine love and grace. The legend narrates that Vrishabhanu discovered baby Radha floating on a lotus in a pond, radiant and divine. He brought her home, and she became the beloved daughter of Barsana. Radha's deep, transcendental love for Krishna and her unwavering devotion have made her a central figure in Vaishnavism and a symbol of the soul's yearning for union with the divine. The cultural and spiritual milieu of Barsana, enriched by Radha's presence, has inspired various art forms. Among them, Banarasi Gulabi Meenakari—a delicate pink enamel jewelry art—flourished, reflecting the tender hues associated with Radha's love and the blooming 'chatti' roses of the region. This art form, deeply rooted in the traditions of Banaras, continues to be a testament to the enduring legacy of Radha and the devotional fervour she embodies.
A Journey from Golconda to Banaras
Centuries ago, skilled jewelers from Gujarat worked in the renowned Golconda mines, famed for their exquisite diamonds. These artisans, serving royal courts including those of Tipu Sultan and Haider Ali, faced turmoil when a warning from Desai, Tipu's prime minister, alerted them to impending dangers. Seeking refuge, they migrated to Banaras around the 1800s, drawn by its spiritual allure and the promise of a new beginning.
The Essence of Banarasi Gulabi Meenakari
Gulabi Meenakari, or pink enameling, involves the meticulous hand-painting of designs on metals like gold, silver, or copper. The signature pink hue is inspired by the chaiti rose, which blooms in March and is celebrated in local songs and temple decorations. Unlike the vibrant enamels of Jaipur or Delhi, Banaras' artisans achieve five distinct shades of pink, reflecting the city's unique aesthetic.
The process is intricate: starting with the creation of the base (ghat), followed by engraving (chilai), and then the enameling itself. Each piece involves multiple artisans, each contributing their expertise to bring the jewelry to life. The reverse side often features detailed enamel work, making it as captivating as the front.
Cultural Resonance and Revival
Banaras has always been a melting pot of cultures, attracting geniuses from various fields. The city's appreciation for 'kala' (art), 'kalakar' (artist), and 'vidya' (knowledge) created an environment where Gulabi Meenakari could thrive. Historically, affluent families patronized this art, ensuring its transmission through generations and only certain communities, like the Kherawall Brahmins and Oswal Jains, were exempted from taxes, highlighting the craft's reserved status and difficulties for the newbies to enter in this field of craftsmanship.
However, post-1947, with the dissolution of princely states and the introduction of policies like the Gold Control Act, the craft faced decline. By the 1980s, it teetered on the brink of obscurity. The return of Shri Raman Shankar Pandya to Banaras from Mumbai marked a turning point, breathing new life into the tradition. His dedication underscored the notion that a 'meenakar' is more artist than smith, infusing soul into the metal.
In 2015, the art received the Geographical Indication (GI) tag, recognizing its unique identity and offering protection against imitation. This acknowledgement not only preserved the craft but also introduced it to global audiences, with pieces now featured in international museums and collections.
The Present: A Delicate Balance
Today, only a handful of artisans, perhaps 10-15, continue this legacy. The rise of machine-made jewellery, catering to fast-paced consumer demands, threatens the soulfulness inherent in handcrafted pieces. Yet, the essence of Gulabi Meenakari lies in its intimacy—the backside enamelling, often in contact with the wearer's skin, symbolizes a connection between the art and the individual.
True connoisseurs recognize the value of this craftsmanship, understanding that its worth isn't merely in material but in the stories, traditions, and emotions it encapsulates. As Banaras continues to evolve, the hope remains that this pink-hued legacy endures, reflecting the city's timeless charm and artistic spirit.
The Heartbeat of Banaras
Banarasi Gulabi Meenakari is more than just jewelry; it's a reflection of Banaras' soul. The city's temperament, often described as 'gulabi tabiyat' or pink temperament, resonates with the art's delicate hues. From the chaiti songs sung during spring to the Holi celebrations on the ghats, the pink essence permeates every facet of life.
Artisans, often working to the melodies of traditional songs, infuse each piece with emotion and history. Unlike machine-made jewelry, which can feel impersonal, handcrafted Gulabi Meenakari pieces carry the warmth and dedication of their creators. Today, while only a handful of artisans continue this tradition, efforts are underway to train new generations, ensuring that this enchanting art form continues to shine.
Banarasi Gulabi Meenakari stands as a testament to Banaras' rich heritage, blending artistry, history, and spirituality into pieces that are as timeless as the city itself.
Echoes of Chaiti
And in those rose-scented evenings, one could hear the soulful strains of a Chaiti song floating on the Ganges:
Oh saan sanjh saweriya, aaj ke aaj,
Kahe boli adhi ratiyan, oh rama re,
Koyel tori boliyan boliyan re,
Saiyan roothi gayi, saiyan roothi gayi...
Thus, life, love, and art are eternally renewed in Banaras — just as the koel sings again every spring, so too does Gulabi Meenakari await its next blooming.
