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Kaca di India wujud dalam bentuk manik wound monochrome pada zamanChalcolithic di Maski, dan sebagai manik dan gelang dari penghujungtempoh pertindihan fasa Tamadun Harappa dan budaya besi PaintedGrey Ware di Bhagwanpura. Kepelbagaian dan pengedaran manikmeningkat berlipat kali ganda dalam fasa Sejarah Awal. Rekod literaturyang bertarikh dari 1200 BCE sehingga sekitar 300 BCE merujuk kepadamanik kaca sebagai barang mewah untuk golongan kelas atasan. Walau
bagaimanapun, tidak seperti tablet tanah liat di Asia Barat, maklumatmengenai kaedah pembuatan kaca di India purba adalah terhad; sama adahanya sebagai maklumat material sisa arkeologi ataupun rekod epigrafi. Walau bagaimanapun, kita mempunyai rekod sastera merujuk kepada penggunaan dan penghasilan pelbagai jenis manik kaca dan objek lain dalam bentuk Yajurveda (1200 BCE), Brahmanas (800-600 BCE), Sutras (600-400 BCE), Arthasastra (300 BCE), Puranas, (400-1400 CE) kepada
Ain-i-Akbari (rekod mahkamah pemerintahan Akbar, yang ditulis oleh Abul Fazal, sekitar 1590). Rekod kolonial yang bermula pada abad ke19 memberikan gambaran terperinci mengenai pembuatan kaca asli dan pengerjaannya di India. Walau bagaimanapun tiada tiada sebarang maklumat di dalam dokumen tersebut merujuk kepada millefiorie. Ahli-ahli arkeologi mendakwa menjumpai manik serta mangkuk millefiorie di India sejak abad ke-1 CE. Data etnografi mendedahkan bahawa pengeluaran moden chevron dan millefiori bermula di bandar kaca tradisional India, iaitu, Purdilnagar pada tahun 1970-an. Sejurus itu, ia telah dihasilkan dalam relau manual tanpa menggunakan sebarang acuan. Walaupun millefiorie telah menjadi sinonim dengan Venice, namun pada masa ini, millefiorie di Venice dihasilkan tanpa penggunaan mana-mana relau tradisional atau teknik asal. Kertas kajian ini merekodkan proses pembuatan millefiori seperti yang diamalkan di Purdilnagar sebagai model untuk menafsirkan penemuan arkeologi yang berkaitan. 69 JOURNAL OF THE BORNEO INTERNATIONAL BEADS CONFERENCE 2019 Glass in India in the form of wound monochrome beads, are known from the Chalcolithic Period at Maski, and as beads and bangles from the overlap phase of the Late Harappa and Painted Grey Ware in Bhagwanpura. Their variety and distribution increased many folds in the Early Historic phase. The literary record dating from 1200 BCE till about 300 BCE defines glass beads as a luxury item meant for the higher class of the society. However, unlike the clay tablets in West Asia, there is limited information about the method of glass making and working in ancient India, either as archaeological remnants or epigraphical records. However, we do have literary records referring to the use and production of variety of glass beads and other objects in the form of Yajurveda (1200 BCE), Brahmanas (800- 600 BCE), Sutras (600-400 BCE), Arthasastra (300 BCE), Puranas, (400- 1400 CE) to Ain-i-Akbari (a court record of Akbar’s reign, written by Abul Fazal in c. 1590). Colonial records dating to the 19th century provide detailed description of the native glass making and working in India. However, none of these documents refer to millefiori. Archaeologists have claimed to find millefiori beads and bowls in India dating back to 1st century CE. Ethnographic data reveal that in modern period chevron and millefiori production started at the traditional glass town of India, i.e., Purdilnagar in 1970s. Then on, it has been produced in a manual furnace without use of any moulds. Though millefiori has become synonymous with Venice, but in present Venice, millefiori is produced without the usage of any traditional furnace or the original technique. This paper records the process of making millefiori as practiced in Purdilnagar as a model for interpreting associated archaeological findings. |
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