It was a moment of celebration for Assam’s jewellery sector when the traditional ‘Axomiya Gohona’ (Assamese jewellery) received the prestigious Geographical Indication (GI) tag. Solitaire International reports on the significance of this recognition and how it will contribute to preserving the legacy of over 1,500 artisans dedicated to this exquisite craft.
In a recent post on X, Assam’s Chief Minister, Mr. Himanta Biswa Sarma, stated, “Sharing some golden news. Assam’s jewellery – an inseparable part of our heritage – has received its own Geographical Indication (GI) tag. I distinctly remember that in the 2018-19 budget, we had proposed to secure [the] GI tag to protect our artisans. Happy to see these efforts have been realised. Another milestone of prosperity for Assam! Congratulations to every artisan who kept this legacy alive,” the Chief Minister said.
The announcement was made by the Geographical Indications Registry under the Intellectual Property Office, with registration details published on the GI Authority’s official website, according to a PTI press release. The application was submitted by the Gems and Jewellery Promotion Council of Assam, with the process facilitated by the Assam Science and Technology and Environment Council (ASTEC).
Historical Background
Assamese jewellery boasts a legacy that spans over a thousand years. The earliest reference to gold in Assam appears in the Arthashastra, which mentions a place called Suvarnakudya in the ancient kingdom of Kamarupa, present-day Assam.
During medieval times, the art of gold-washing and jewellery making flourished during the reign of the Ahom dynasty. Gold dust was abundantly found in the sands of different rivers of the state, especially in the Subansiri River, a major tributary of the Brahmaputra. Gold-washing was the main source of livelihood for the Sonowal Kacharis, during the Ahom reign. (Son or Xon in Assamese means gold, and a goldsmith is called a Sonari.)
Unique Features
Assamese jewellery draws rich inspiration from the region’s flora and fauna and cultural heritage. Its designs often feature motifs of birds, grains, animals, musical instruments like drums (Dhol), conical handmade headgear (Japi), and so on. The pieces are underscored with a distinctive golden appearance, enhanced with enamelling and the use of vibrant gemstones in shades of red, black, green, blue and white.
Assamese jewellery is mostly named after the designs and motifs. For instance, Jon-Biri is inspired by the crescent moon; Lokaparo features two fan-tailed pigeons designed back-to-back; Jethi-Pota looks like a lizard’s paws, adorned with a row of small V-shaped medallions and a central pendant; while Dhol-Biri is shaped in the form of a traditional drum. Each symbolic design reflects the region’s deep connection with nature and tradition.
So, what makes this craft special and deserving of the GI tag?
Metal purity is of utmost importance in Assamese jewellery, which is crafted using 22-karat (and above) gold and 92.5 (and above) pure silver. Each piece of jewellery is manufactured by traditional jewellers of Assam, with the craft passed down through generations. Several famous families in Assam have been the torchbearers of this traditional craft, including the Bordolois of Jorhat, the Banias of Nagaon, and the Das of Barpeta.
However, with India’s rapid technological advancement and the rise of modern manufacturing techniques, handcrafted jewellery is gradually taking a back seat, bringing this traditional art form to the brink of extinction. Although numerous revival efforts have been made, the recent GI tag marks a significant milestone in preserving and honoring this traditional craft.
Balancing The Act
There have been several efforts by organisations and entrepreneurs who were engaged in this craft to save it. However, the Government could not offer any help to the traditional Assamese jewellery industry as was an unorganised sector. Moreover, no research was done on the commercial viability of the jewellery units at any level.
In 2012, Ms. Jaya Choudhury undertook Ph.D. research on the topic ‘A Study on Commercial Viability of Traditional Assamese Jewellery Units” in Gauhati University under the guidance of Dr. Amal Kr. Agarwala.
However, to complete her Ph.D., she found that no data were available and the industry was also going through a tough time in the wake of various problems. Hence, she resigned from her high-paying job as the Head of the Department at a reputed management institute and began working actively for the industry. In recognition of her efforts, the Nikhil Assam Swarna Silpi Samiti, the oldest association of jewellers in Assam, offered her the post of Chief Advisor.
During her research, she identified various problems faced by the jewellery units and highlighted those issues on various platforms. Thereafter, the units started receiving the necessary help and support from the government, along with various other agencies.
Some of the initiatives undertaken during the research period were: artisans’ participation in the India International Trade Fair in 2013 and 2014 with complete support from the North Eastern Development Finance Corporation Ltd. (NEDFi); artisans participating in a 15-day training program conducted by Renate Golz from Germany, organised by NEDFi in association with the District Industries and Commerce Centres (DICC) Barpeta; registration of traditional jewellery units under DICC; the grant of a Common Facility Centre for gold and traditional Assamese jewellery by the Industries and Commerce Department, Assam, at Bamunimaidam, Guwahati.
These organisational initiatives not only addressed various issues faced by the industry but also gave it the impetus to gain the strength to stand on its own. However, the greatest threat came from duplicate jewellery which needed to be resolved. To overcome this, the Government of Assam once again came to the rescue of the artisans and initiated the process of registration of Assamese jewellery under Geographical Indication.
She completed her Ph.D. in 2018. However, instead of returning to teaching, she continued to work voluntarily for the jewellery industry. When the Common Facility Centre at Guwahati was ready, the government selected the ‘Gems and Jewellery Promotion Council of Assam’ (GJPCA), formed by members of the Nikhil Assam Swarna Silpi Samity (NASSS), to run and manage it. Dr. Choudhury registered the society on behalf of NASSS and allocated space on the ground floor of her residence to set up its office.
GJPCA was later approved as the official applicant of the GI tag, with Dr. Choudhury nominated as the authorised signatory by the government. In the application of GI, her doctoral thesis was also submitted as part of the GI application, serving as evidence of the research conducted on Assamese jewellery.
Dr. Choudhury comments, “The biggest challenge we faced while working towards securing the GI tag was in drafting the application by bringing three categories of jewellery together for this craft, each having its own distinct feature and craftsmanship. However, with the expert guidance of Dr. Jaideep Baruah, Director of ASTEC and his team, we overcame this challenge.”
Dr. Choudhury believes that the GI tag will transform the future of traditional Assamese jewellers and artisans. “The GI on Axomiya Gohona will not only preserve the age-old cultural heritage of Assam, but it will also safeguard the product from unwanted duplication. Since GI provides exclusive rights to the actual producers, it will enable them to charge premium prices for their product. It will also add value to the jewellery by making it more desirable and assure consumers of the authenticity and quality of the jewellery. The GI will also enable the artisans to showcase their product in the coveted GI pavilions at national as well as international exhibitions, which will expand their customer base nationally as well as internationally.”