1, three views of ring worn on second and third toes of the left foot; the conventional fish is an emblem of Siva 2, 3, 4, other toe rings
Journal of Indian Art and Industry, vol. v, 1894
RICH CINGHALESE MERCHANT, IN GALA DRESS
The immense, round ring on the little finger of his right hand is a favorite adornment in Ceylon; smaller rings are on the fourth finger of right hand, and on the little finger of left hand
The art of the Persian goldsmith in the fifteenth century is displayed in a ring belonging to one of the splendid collections of the Metropolitan Museum of Art, in New York. It is of massive form with an immense bezel, richly decorated in openwork; the hoop is also elaborately chased. The flat surface of the bezel is adorned with a design in keeping with the ornamentation of its sides and of the hoop. For a large and massive ring this one is remarkably well-proportioned and harmonious in design.
A good specimen of the rings worn on state occasions by East Indian princes was sold in February, 1913, at the American Art Galleries. It is of gold, but bears no precious stones; the circlet is ornamented with white enamelled crocodiles, and also with a minute enamelled figure, within a temple and incased in glass; the bezel of this ring is decorated in blue, green and red enamel.
While the simpler Chinese rings as a general rule are unset, usually consisting merely of a plain silver band on which are engraved designs of various objects, or else coated with ornaments in enamel, the rings of the Tibetans display a considerable variety of settings, turquoise, coral, agate, mother-of-pearl, mica and similar stones being used. Few or none of the true precious stones are to be found in the rings of these countries. The Field Museum of Natural History in Chicago has a large number of specimens some of which are figured in the accompanying plate.[134]
A collection of some two dozen rings of artistic Siamese workmanship were sent to the Chicago Exhibition of 1893, in charge of Prince Surrya, later Siamese ambassador to France. These rings were of nearly pure gold, and were ornamented with designs in red, green, and white enamel, representing animals, fish, and other forms, but never human figures. They were believed to be of considerable age and historic value; indeed, they were so highly prized that they were not publicly exhibited but were kept locked up in a safe, and only rarely displayed to some especially favored visitor. After the close of the Exhibition they were safely returned to Siam.
An American traveller in Cambodia, in 1871, succeeded in having a few rings made for him by a native Buddhist bonza, the material being old metal found lying about among the idols of a temple at Ongchor. The work of the priest gives evidence of a considerable degree of skill in design, doubtless derived from examination and study of native and Indian types of rings. The type having an intertwined bezel prevails; one massive ring is penannular.[135] An elaborate Burmese ring has the hoop in the form of a serpent, whose open mouth displays the death-dealing fangs. Along the body runs a continuous band of rubies placed in oval settings. The rest of the surface is adorned with green, red and white enamel—mouth, nose, tail and scales being brought out in this way. Of two red stones which originally marked the serpent’s eyes, one has fallen out; on either side of the head is a small sapphire. This fine ring is in the British Museum.[136]