GOLESTAN PALACE RING

The "GOLESTAN PALACE" ring takes its name from the eponymous palace in Tehran. Rich in countless details inspired by Persian culture and art, these are visible both in the decorations within the gallery inside the ring and on the sides of the band, as well as in the upper and lower parts of the ring where the history of this magnificent empire seems to be told through refined motifs made with diamonds and coloured enamels. An emerald of over 10 carats, purchased in Italy from an Iranian vendor, stands out for its beauty. With a floral shape, typical of certain Persian-origin panels that we also find in the architecture of the Mughal empire of Rajasthan (thanks to the relations between these two kingdoms), this emerald crowns a splendid piece of Iranian turquoise of exceptional quality, hand-engraved and decorated in pink gold using the “ramage” technique, all performed by a skilled Roman stone cutter, a friend who works with prestigious international jewellery brands. The shapes and designs are the result of numerous attempts over several weeks of work in Italy to achieve this creation, where the intense colour and crystalline structure of the magnificent turquoise material, already used over 3500 years ago in Mesopotamian jewellery and by Egyptian pharaohs, stand out for their indescribable charm. But the surprise is revealed as soon as a button, set with an emerald resembling a stylised flower—perhaps a peony or a lotus, both common patterns in hand-woven Persian carpets—is pressed. Inside, seven carpet-like jewels await, each representing one of the princesses described in the eponymous poem written by Nezami Ganjavi in 1198 BC. These are decorated with polychrome guilloché enamel and typical designs from the provinces they are named after: Gabbeh (from a photo of a carpet purchased in Shiraz featuring the sacred cypress trees, also engraved on the sides of the ring), Qum, Tabriz, Isfahan, Nain, Balouchi, and Kashan. Each carpet is engraved on the back with the same motifs and the name of its respective province. These are inserted into the ring through a mobile seat, inspired by the Peacock Throne used during the coronations of various Shahs of Persia. This throne, preserved in the extraordinary Crown Jewels Museum in Tehran, was presented to the Persian sovereign Nadir Shah by the Maharajah of Delhi after he spared the Maharajah’s life following the latter’s conquest of Indian territories. Other sources, however, suggest that the throne was taken from the Mughal treasure after Shah Nadir’s sack of Delhi in 1739. The true revelation comes when the first carpet is pulled out (which must strictly be the Gabbeh for stylistic reasons). It becomes clear that the seven carpets form a delightful necklace, which can be worn in different sizes thanks to three extensions. A yellow micro baby Akoya pearl embellishes the final closing link. The throne’s decorations, in polychrome cathedral enamels, are inspired by the typical stained-glass windows of Persian Qajari buildings, which also served to ward off insects while creating a kaleidoscopic effect when sunlight hit them. The colours are not randomly arranged; they symbolically represent the sky, earth, water, and fire. On the longer sides of the ring, numerous diamond-set decorations follow the designs of Qajar ceramics and the majolica panels that decorate the Golestan Palace. Other panels from the same palace inspired the gallery, engraved in pink gold and glazed with a blue vase (the famous “Persian Blue” colour that decorated porcelain exported from Iran and traded with China along the Silk Road), along with stylised roses, simplified here in an Art Deco design, on gently swaying floral branches. On the shorter sides of the ring, two stylised cypresses stand out, inset with diamonds. These details are inspired by Persian stucco depicting these sacred and beloved trees, found on the walls of a famous hammam in Shiraz. The design beneath the opening ring’s lid is also made of guilloché enamels in shades of turquoise and green, creating a "dialogue" with the stones mounted on the upper part of the jewel. Throughout the Middle East, emeralds are highly revered for their colour, which is dedicated to Islam, and are often combined in crown jewels with white diamonds and the red hues of rubies and spinels, referencing the colours of the Iranian flag. Turquoise, the Persian stone par excellence, is central to the design, with the decoration encrusted with diamonds on the lower part of the ring's shank taking up the typical "paisley" motif. This motif is not placed randomly but always touches the closed hand, transmitting the intrinsic energy of the diamonds (from the word Adamas, meaning the invincible, as a reference to their hardness) to the wearer of the jewel. The curved design is of Persian origin, appearing as early as the Sassanid empire in 221 AD. In Farsi, it is called "Boteh Jegheh" and was created as a motif for the ancient Zoroastrian religion. The design is a stylisation of the cypress tree, which symbolised life and eternity in this religion. According to a legend I encountered during my trip to Iran in July 2019, it is said that this motif became popular in Persia after the Arab invasion and conquest. Legend has it that the Arabs, in their spite, devastated vast territories of magnificent centennial cypress trees with their curved-blade knives. The floral motif of the cypress is thus said to be linked to the curved shape of the knife, creating a design that melancholically evokes this sad episode in the hearts of traditionalist Persians. I enjoy mentioning this legend, which may not align with historical facts, but it resonates in the collective imagination, much like a fairy-tale jewel, an illuminated masterpiece, or a work of art.