Our bodies are the ultimate canvas for gems and jewels intrinsically linked to our self identity. Decorating our bodies with jewelry, is like decorating our soul, an intimate and sacred display of our self expression.
This thought is the reason why these Royal Mysore gem-enscusted paintings came to be, guided by my lifetime of historic research and artistic work with gems and jewels. In a way, these paintings were years in the making.
I will elaborate more on my thought process and why I choose Royal portraiture, with it’s nuance and steeped in meaning, history and symbolism.
But first, here they are…
THE PAINTINGS OF THE MAHARAJA AND MAHARANI OF ROYAL MYSORE
The diamond-clad, gem encrusted paintings of the Maharaja and Maharani of Royal Mysore. 60 x 40 inches, hand-painted on canvas by artist Reena Ahluwalia. C. Krishniah Chetty Crystal Museum. Bengaluru, India. Image: ©Reena Ahluwalia. The words Maharaja (great king) and Maharani (great queen) originates in Sanskrit (महाराज | महारानी). The paintings celebrate an unbroken jewelry heritage and the enduring significance these gems retain in the tapestry of Indian culture.
C. KRISHNIAH CHETTY CRYSTAL MUSEUM
The Royal Mysore paintings are in the permanent collection of the C. Krishniah Chetty Crystal Museum. A private, by-appointment museum in Bengaluru, India. The museum is one-of-its-kind, showcasing the art, gems, and jewelry history from Deccan and Carnatic regions in Central and South India. It celebrates the lasting 150-year legacy of C. Krishniah Chetty Jewellers, who left an indelible mark as jewellers for over twenty-one royal kingdoms in India, including the Kingdom of Mysore. The Royal Mysore paintings were acquired for the C. Krishniah Chetty Crystal Museum by Dr. C. Vinod Hayagriv, an art connoisseur, collector and one of the most celebrated jewelry icons of India.
The Royal Mysore paintings are in the permanent collection of the C. Krishniah Chetty Crystal Museum. Bengaluru, India. Artist Reena Ahluwalia with the C. Krishniah Chetty Group of Jewellers, who are one of the largest collectors of Reena’s artworks in India. Seen here: Dr. C. Vinod Hayagriv, C. Triveni Vinod, Cotha Visala, Chaitanya V Cotha, Yagnika C Cotha, Shreyas V Cotha, Bhavna S Cotha and artist Reena Ahluwalia.
ART OF RECORDING JEWELRY HISTORY
The words Maharaja (great king or ruler) and Maharani (great queen or ruler) originates in Sanskrit (महाराज | महारानी).
“My paintings act as a bridge between the past, present and the future, reminding us of the significance these gems hold in Indian culture. Once worn by royalty, these gems and jewels are now scattered across museums and auctions, others lost, melted or recycled. But they are far more than just ornaments. They carry history, culture, and are embodiments of power. By returning these jewels to their rightful owners - the regal figures of Mysore - I invite modern-day viewers to travel across the corridors of history.
I have painted the bejeweled Maharaja and Maharani with diamond-clad bodies. It's a nudge, really – a reminder that we are the heroes of our own lives, as resilient and luminous as the diamonds and gemstones. I hope that my art not only serves as a historic record, but also opens a portal to self-reflection and empowerment, reminding viewers of their unique worth and inner brilliance.
~ Reena Ahluwalia (Artist).
THE MAHARAJA OF MYSORE PAINTING
The Maharaja of Mysore. 60 x 40 inches, hand-painted on canvas by artist Reena Ahluwalia. C. Krishniah Chetty Crystal Museum. Bengaluru, India. Image: ©Reena Ahluwalia. The word Maharaja (Sanskrit: महाराज) means great king or ruler. The painting show a diamond-clad body of Maharaja, bejeweled with historically accurate gems and jewels. Meticulously crafted, every inch of the canvas narrates a tale embedded with diamonds, gemstones, and gold.
THE MAKING OF THE MAHARAJA OF MYSORE PAINTING
The making of the Maharaja of Mysore painting by artist Reena Ahluwalia. 60 x 40 inches, hand-painted on canvas. Image: ©Reena Ahluwalia.
DETAILS
The Maharaja of Mysore painting showcases many historical gems and jewels. An old mine cut Golconda diamond and Colombian emerald drops necklace. A Badakhshan spinel beads necklace. The Order of Gandaberunda Burmese rubies and diamond necklace. A gold Gandaberunda and tiger claw necklace with actual fur of the tiger, set with a Colombian cabochon emerald. The gold gem-set hilted dagger. Hilt in the form of a Yali, a fearsome mythical beast, Mysore or Tanjore, 1790-1810. Ring with an old mine cut Golconda diamond, surrounded with Colombian emeralds. Turban ornaments with Golconda diamonds, rubies and pearls. A full body multi-strand pearls and emerald sash. A diamonds, rubies and emerald bajubandh. A tiger's gold head ornament from Tipu Sultan's throne, Royal collection, 1785. Image: ©Reena Ahluwalia.
HISTORICAL RESEARCH AND INSPIRATION
The Wadiyar (Wodeyar or Odeyer) dynasty of Mysore. (Kannada: ಒಡೆಯರು). As Maharajas of Mysore, the Wadiyars ruled the Kingdom of Mysore from the late 1300s until 1950. The Wadiyar is a late-medieval/early-modern South Indian Hindu royal family of former kings of Mysore from the Urs clan originally based in Mysore city. Shown here are the Wadiyar Maharajas of Mysore, top L to R: Krishnaraja Wadiyar IV, portrait by K. Keshavayya (c. 1906), Chamarajendra Wadiyar X, Jayachamarajendra Wadiyar, Krishnaraja Wadiyar III, and present day Maharaja of Mysore - Yaduveer Krishnadatta Chamaraja Wadiyar. Bottom L to R: Maharaja Chamarajendra Wadiyar by artist K. Keshavayya. Maharajakumari Cheluvajammanni avaru, sister of H.H. Krishnaraja Wadiyar IV, with her consort Sri Lakshmi Kantharaj Urs, 1898. Maharaja Krishnaraja Wadiyar, 1903.
Famous Golconda Diamonds. Top Row: Hope | Koh-I-Noor | Darya-I-Noor. Middle Row: Archduke Joseph | Regent | Sancy. Bottom Row: Wittelsbach-Graff | Beau Sancy | Dresden Green | Idol’s Eye. Images and information complied by Reena Ahluwalia.
A Golconda diamond is a diamond from a specific geographic area within the historic Kingdom of Golconda in India. Diamonds with proven Golconda provenance are of a specific type of rare, pure carbon diamond known as Type IIa. Less than 1-2% of the world's diamonds are Type IIa. The kingdom of Golconda is situated in India's Deccan plateau. Golconda was a region located between the lower reaches of the Godavari, Wainganga, Wardha and Krishna-Venva rivers, in the present-day states of Maharashtra and Andhra Pradesh, central India.
Colombian emerald with fine leafy bluish green became central to my Maharaja painting. In Southern India, especially the Kingdom of Mysore, emeralds were proportionally worn more by the Maharajas than the Maharanis, who favoured rubies. Colombia's lush mines yielded emeralds that found their way into Southern Kingdoms, like in the Royal Mysore's jewelry, adding a vibrant touch of green. Image compiled by Reena Ahluwalia, credit GIA, Christie’s and Sotheby’s.
Though emeralds had been sourced in India since ancient times, by the period of the Mughal Empire, the finest examples were imported from what is now modern-day Colombia via trade with the Portuguese merchants, who carried them to India’s coastal trading center of Goa—and on to the royal treasuries. Most of the Colombian emeralds were formed some 30 to 38 million years ago. Over time, emeralds were brought in from other countries, such as Afghanistan and Brazil, but none surpassed the finest emeralds from Colombia. Much admired by the Maharajas, Mughal emperors, Nawabs, and wealthy courtiers coveted emeralds. Sizeable carved stones served as the centerpieces of turban ornaments, belt fittings, and bazubands, worn on the upper arm. The more impressive the size and appearance of a gemstone, the greater a signifier it was of the wearer’s spiritual veneration to the gods.
Interestingly, a British trader who stayed in the palace at Agra from 1609 to 1611 reported that Shah Jahangir had more than half a million carats of unmounted emeralds in his treasury, so coveted were the rich green gemstones coming from the New World.
HISTORIC ROYAL JEWELS OF MYSORE & SOUTHERN KINGDOMS
The jewelry of the Royal Kingdom of Mysore was a dazzling fusion of artistry, history, and symbolism. The Wadiyar dynasty's rule in Mysore was a symphony of wealth, artistry, and cultural richness. Their love for jewelry, exemplified by pieces like "The Star of Mysore", “Gem-set Gandaberunda” and the "Navarathna," reflected the kingdom's prosperity. Each gemstone had its symbolism, reflecting the royal aspirations of Mysore's rulers. Golconda diamonds symbolized invincibility and purity, Spinels from Badakhshan in the 'Pamir' region (on the frontier between Afghanistan and Tajikistan) and Burmese rubies signified passion and courage, Colombian emeralds represented renewal and growth, and Ceylon (now Sri Lanka) sapphires stood for wisdom and truth. Pearls came from Persian Gulf and were greatly valued. The jewelry forms were highly symbolic and were inspired by the richness of flora and fauna of the region, as well as gods, goddesses and religious iconography. Jewelry fabrication techniques such as granulation, stamping, embossing, filigree, kundan setting, meenakari or enamel work, stringing of beads and pearls could be seen, and it continues to be used till this date.
The history of these gems in Mysore was entwined with the rise and fall of dynasties, with each ruler leaving their unique mark on the jewelry they commissioned. Yet, their lasting contribution extends far beyond gemstones, as patrons of art, culture, and architecture, a testament to their enduring legacy.
Journey of gems to India. Image: Illustration by Tom Kwolik/GIA.
The magnificent and bejeweled Maharajas of the Royal Kingdom of Mysore. Image compiled by Reena Ahluwalia.
Procession of Krishnaraja Wodeyar III through Mysore, 1825–1830. The bejewelled Maharaja is on an elephant leading a religious procession in honour of the god Shiva. He preceded by dancing-girls, musicians, chauri-bearers and men carrying illuminations and letting of fireworks. British military commanders are also shown. Image: V&A.
THE MAHARANI OF MYSORE PAINTING
The Maharani of Mysore. 60 x 40 inches, hand-painted on canvas by artist Reena Ahluwalia. C. Krishniah Chetty Crystal Museum. Bengaluru, India. Image: ©Reena Ahluwalia. The word Maharani (Sanskrit: महारानी) means great queen or ruler. The painting show a diamond-clad body of Maharani, bejeweled with historically accurate gems and jewels. Meticulously crafted, every inch of the canvas narrates a tale embedded with diamonds, gemstones, and gold.
THE MAKING OF THE MAHARANI OF MYSORE PAINTING
The making of the Maharani of Mysore painting by artist Reena Ahluwalia. 60 x 40 inches, hand-painted on canvas. Image: ©Reena Ahluwalia.
DETAILS
The Maharani of Mysore painting showcases many historical gems and jewels. Head ornaments gem-set with Burmese rubies, Colombian emeralds and diamonds. 17th century ruby and diamond set earplugs, Al Sabah collection. A grand old mine cut Golconda and Burmese rubies necklace. Burmese rubies, emeralds and diamond slice Manga malai, in kundan setting, 19th century, Bonhams. Gold beaded necklaces. A nath (nose ornament) set with ruby and pearl drop. A gold gem-set bajubandh. A diamond, rubies and emeralds flower pin, 18th century. 17-18th century gold bangles. A CKC gold rosewater sprinkler. A gem-set waist band, presented to Queen Alexandra by Chamarajendra Wadiyar X, 1875. Image: ©Reena Ahluwalia.
HISTORICAL RESEARCH AND INSPIRATION
The Maharanis of Southern India. Top L to R: Three royal princesses of Mysore by artist Thomas Hickey in 1805. Image: Sothebys. Shown on left is Maharani Devajamanni, the senior queen of Maharaja Krishnaraja Wadiyar, on right Maharani Devajamanni of Lakshmivilasa Sannidhana, the Junior queen of Maharaja Krishnaraja Wadiyar. Maharani of Kurupam, Lakshmi Narasayamma Patta Mahadevi, by artist Raja Ravi Varma in 1902 donning jewels from South India. HH Janaki Subbamma Bai Sahib, Maharani of Puddukkottai with her daughter, by artist Raja Ravi Varma, 1886. Present day Maharani Trishikha Kumari Wadiyar. Bottom L to R: Maharani Lakshmivilasa Sannidhana Shri Pratapa Kumari Ammani Avaru of Mysore, formerly of Kathiawar, created by Barton, Son & Co., Bangalore, 1900. HH Sri Janaki Subbamma Bai Sahib, Rani of Pudukkottai by artist Raja Ravi Varma, 1879. Photographs of the twin weddings of younger sisters / princesses of Maharaja Jayachamaraja Wadiyar, 1941.
Burmese Rubies are central to my ‘Maharani of Mysore’ painting. Image compiled by Reena Ahluwalia, credit GIA, Christie’s and Sotheby’s.
No other gem exudes a fiery passion as ruby! In Sanskrit, ruby is Ratnaraj, meaning the king of gems. Since 600 AD, mines in Myanmar (Burma) were the world’s primary source for rare ‘pigeon’s blood’ rubies. Ruby has accumulated a host of legends over the centuries. These rubies soon reached India and were used as powerful symbols by royalty, such as in the Kingdom of Mysore, Mughals, Nizams and many more. Wearing rubies to guarantee health, wealth, wisdom, and success in love.
150 years of gem and jewelry legacy - the C. Krishniah Chetty Group of Jewellers.
Dr. C. Vinod Hayagriv, Managing Director, Director, as well as a gemologist of the C. Krishniah Chetty Group, said, “Being the last person with interest in the illustrious history of our business, it was time to record and share the events and experiences the family has gone through over our now sesquicentennial journey. During our travels, we come across magnificent gems, and Reena's exquisite paintings immediately caught my attention. Over time, I collected a few of her paintings. The two Royal Mysore paintings were commissioned by me and are now proudly displayed in the Crystal Museum Salon.”
Painting these bejewelled Royal portraits has been long time in the making. I hope that my art opens windows into the world of self reflection, symbolism, history, heritage, and the timeless legacy of the Maharaja and Maharani of Mysore, for generations to come. Exhibited in the permanent collection of the C. Krishniah Chetty Crystal Museum will ensure the artworks legacy.
My artworks serve as a reminder that we too are the modern day Maharaja (King) and Maharani (Queen) of our own lives. Much like the gems that have gone through intense pressure to reveal their true power, worth and brilliance.
Like masterpieces in progress, we craft our own life stories.
And that’s the beauty of life!
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In the past I have authored posts on, The Koh-i-Noor Diamond, Diamonds on World Postage Stamps, Top Ten - Largest Diamonds Discovered In The World, Splendors of Mughal India, The Magnificent Maharajas Of India, Mystery & History Of Marquise Diamond Cut, Ór - Ireland's Gold, The Legendary Cullinan Diamond, Bejeweled Persia - Historic Jewelry From The Qajar Dynasty, Famous Heart-Shaped Diamonds, Type II Diamonds, Green Diamonds, Red Diamonds and more. Over years, I have spent countless hours in self-driven studies on diamond, jewelry history and research. I wrote these blogs for a simple reason - to share my collected knowledge with all who are interested, so that more can benefit from it. Take a look and enjoy! -- Reena