6. Manufacture of ornaments
The Sunār makes all kinds of ornaments of gold and silver, being usually supplied with the metal by his customers. He is paid according to the weight of metal used, the rate varying from four annas to two rupees with an average of a rupee per tola weight of metal for gold, and from one to two annas per tola weight of silver.[5] The lowness of these rates is astonishing when compared with those charged by European jewellers, being less than 10 per cent on the value of the metal for quite delicate ornaments. The reason is partly that ornaments are widely regarded as a means for the safe keeping of money, and to spend a large sum on the goldsmith’s labour would defeat this end, as it would be lost on the reconversion of the ornaments into cash. Articles of elaborate workmanship are also easily injured when worn by women who have to labour in the fields or at home. These considerations have probably retarded the development of the goldsmith’s art, except in a few isolated localities where it may have had the patronage of native courts, and they account for the often clumsy form and workmanship of his ornaments. The value set on the products of skilled artisans in early times is nevertheless shown by the statement in M’Crindle’s Ancient India that any one who caused an artisan to lose the use of an eye or a hand was put to death.[6] In England the jeweller’s profit on his wares is from 33 to 50 per cent or more, in which, of course, allowance is made for the large amount of capital locked up in them and the time they may remain on his hands. But the difference in rates is nevertheless striking, and allowance must be made for it in considering the bad reputation which the Sunār has for mixing alloy with the metal. Gold ornaments are simply hammered or punched into shape or rudely engraved, and are practically never cast or moulded. They are often made hollow from thin plate or leaf, the interior being filled up with lac. Silver ones are commonly cast in Saugor and Jubbulpore, but rarely elsewhere. The Sunār’s trade appears now to be fairly prosperous, but during the famines it was greatly depressed and many members of the caste took to other occupations. Many Sunārs make small articles of brass, such as chains, bells and little boxes. Others have become cultivators and drive the plough themselves, a practice which has the effect of spoiling their hands, and also prevents them from giving their sons a proper training. To be a good Sunār the hands must be trained from early youth to acquire the necessary delicacy of touch. The Sunār’s son sits all day with his father watching him work and handling the ornaments. Formerly the Sunār never touched a plough. Like the Pekin ivory painter—
From early dawn he works;
And all day long, and when night comes the lamp
Lights up his studious forehead and thin hands.