At the grand Artisan Awards ceremony held at JWCC, Mumbai, GJEPC paid tribute to craftsmanship by hosting Manoj Kumar Soni, an acclaimed, award-winning meenakar (enameller) from Jaipur. Accompanied by his assistant, he conducted a live demonstration of meenakari for over a hundred viewers, including designers and students studying jewellery manufacturing, who visited the gallery showcasing the 20 finalist pieces. Soni demonstrated the intricate detailing and precision involved in the art. With years of mastery in his craft, he is now committed to passing on his skills to the next generation. Speaking to Solitaire International, he stressed the urgency of preserving ancient jewellery arts, warning that these rich traditions risk fading into obscurity if not carried forward.
How many generations have been in this profession?
I come from Jaipur, where I began learning this craft in 1990 under the guidance of my maternal uncle. My grandfather, Ghanshyam Singh Jaria, hailed from Alwar and was a skilled gemstone setter, particularly known for his expertise in kundan setting. However, he did not practice meenakari (the art of painting and colouring metal or glass surfaces). My father chose not to join the industry and instead took up a different profession. It was my mother who encouraged me to pursue this craft, asking my uncle to teach me the delicate art of meenakari. In 1990, I left my family home in Delhi and moved to Jaipur to learn from him.
Did you enjoy learning it?
Yes, I absolutely loved it. I studied regularly until the 10th grade, after which I switched to private studies to focus more on perfecting my skills in the craft. I completed my graduation while simultaneously honing my craft.
How long did it take for you to master the craft?
It took me about two years to learn the craft. After that, I spent 20 years working in the jewellery market, specialising in enamelling and engraving. Eventually, I launched my own jewellery manufacturing business. Today, I supply jewellery to major jewellers in Jaipur, Mumbai, and other cities.
What are the main types of meenakari that are prevalent?
The three main types are: ‘Ek Rang Khula Meena’, where only gold outlines are visible, and a single colour dominates the entire engraved area. ‘Panch Rangi Meena’ uses five colours—green, light blue, dark blue, white, and red. Gulabi Meena features pink as the dominant colour and is famously known as Benarasi Meena, a traditional art form from Benaras.
What is the difference between vilayati and desi meenakari?
Vilayati Meenakari, which uses enamel imported primarily from Europe, is generally less expensive than Desi Meenakari. The key difference lies in the shine and lustre. Desi Meenakari is known for its distinct brilliance and durability—it doesn’t crack easily and retains a rich shine. The process typically involves fusing coloured glass powder on to metal, glass, or ceramics using intense heat. The powder melts to form a smooth, durable, glassy coating on the surface.
Tell us more about the art of manually engraving intricate designs, like the interconnected “bad room” patterns. We believe this requires true artistry. Can it be taught?
The interlinked, net-like design is known as “bad room ka jaal” (net). I create this detailed chitrai work from my imagination. While it can be taught, my teacher first focused on teaching me how to draw. Fortunately, I was quite skilled at drawing in school. That’s why, in any artistic field, having strong artistic skills is essential. Meenakari, above all, is the art of perfection.
What is the fate of meenakari these days?
Unfortunately, meenakari is slowly fading. The craft, mostly used in jadau jewellery, is declining for two reasons—one, some artisans have compromised its authenticity by inflating gold weight calculations and including lac weight in jadau jewellery; and two, changing market trends have led to a decrease in demand.
Do you think modern designs embellished with meena work can revive the craft?
Yes, absolutely. If we incorporate meenakari into modern jewellery designs, it can become very popular.
Will your children continue in this profession and follow in your footsteps?
I have a son and a daughter, but they are still young. I don’t know if they will take up this craft. If work opportunities are good, they might; otherwise, they will move to other professions.
How many people have you trained so far?
So far, I’ve trained about 15 people, but the number is quite small. The number of artisans in this field is rapidly declining, with many who were once in the profession leaving due to a lack of work. I’m committed to keeping the craft alive for future generations by promoting it wherever I can. I would also like to teach meenakari at design institutes to help preserve this art.