A Sirkar & Co. Jewellers, 171/1A Rash Behari Avenue, KOLKATA (2026)

18/09/2026

Vishwakarma Puja, 2026, at the Smallest Jewellery Workshop with the Biggest Heart.

Rakhal. Maron. Debal. Shyam. Shankar. Benu. — none of these names will ring a bell. You’ve never known them, and most at A.Sirkar don’t even know who they are.
Forty years back, they were the ones who peopled this workshop when it was a brick-and-tin shed and not a pucca building as now. There were no ventilation systems, no ceiling fans or shadowless lights, and the toilets (two, side by side) were ramshackle cubicles with no electrical connection or running water. Yes, the conditions were brutal, but so were the times. That had to change, and a decade later the building in which the karkhana now is came up, and we became virtually the only pollution-free jewellery manufacturing unit within city limits, that too certified doubly, by the Pollution Control Board and by the ISO9001 certificate awarded us by the Bureau of Indian Standards.
In the meantime, Rakhal-babu suffered a paralytic stroke and had to retire from work, Shyam literally disappeared, Shankar we heard joined his brother (Narayan) who had a workshop in Bowbazar, Benu committed su***de, Debal-babu continued working in our new workshop till his last days (he passed away of old age less than a decade ago), and Maron-babu (named ‘death’ because the offspring before him hadn’t survived and he was called that by his parents to appease the Grim Reaper so he’d be spared) still lives, and works, but independently, in a workshop somewhere on Rashbehari Avenue.
But the spirit of enterprise these master artisans harboured within them, their fortitude, the discipline with which they plied their craft, and the love they bestowed upon each ornament — from ingot to finished piece — as they brought them to life, all charge the very air of the workshop even now, and likely will for ever.

It’s still a tiny place where no more than six karigars can sit. But the smallness of the space belies its big heart. Deep sentiments, pride of profession, unfailing respect for the precious metal and for the customer – You, and a sense of creating beauty through truthfulness and honesty still pervade the karkhana, as it should because those who’ve walked before us have shown us the proper way to achieve what we seek through our jewellery : to make You immortal.

On Vishwakarma Puja, we pray for your eternalness to be secured in gold. May you prosper, and be happy and at peace at all times. And may the Divine Craftsman bless us with the strength and skill and vision to imagine, design, and create such jewels as would make you immortal.
We seek Your blessings too, so that we may never deviate from the path of truth and beauty, and always enspirit our work with Your divine splendour. We owe our life and our living to You. May our infinite gratitude for that find expression in our work.
On this auspicious day, when the creator of the universe’s most wondrous and magnificent and powerful things and places is traditionally worshipped, we supplicate Him to simply make our work our worship — of You.

(Music credit : Spiral Dance. Medieval Dance. Hurdy-Gurdy, Organ and Drum. The Hurdy-Gurdy played by Andrey Vinogradov)

18/09/2026

ALPONA BY SANATBABU. KARKHANA. VISHWAKARMA PUJA, 2026.
Late as usual, but rewardingly late as well because the Alpona — simple, and taken from a book (the border) and the internet (for the central motif) — by the practiced and artistic hand of Sanatbabu,turned out tidy and very suited to the occasion : Vishwakarma Puja in our workshop. The floor was painted over first and then Sanatbabu, always eager to participate in our special events, applied his magic skills upon it to realise the Alpona design.
There’s nothing grand or showy about it; instead, it does what it does : make homely the environs of the karkhana.

(Music credit : Prelude to 'Probhat Hoilo Bhubon Gahilo' by Ram Kumar Chattopadhyay from the album Dadathakurer Gaan, courtesy Bhavna Records and Cassettes)

16/09/2026

Mulberry-Marigold Moyna-Bagan Choor — IDOA* 517432-001

Just when you thought a certain goyna to be beyond further adaptation comes this monumental pierced-naksha choor whose obvious avoirdupois is played down by the extensive perforations effected upon the chasing. The chhela half-topa border that segues into the hand-notched bezel helps in framing the central narrative of a clearly chuffed starling biding its time on an anfractuous vine of mulberries and marigold, the fruit rendered with hand-tied seed-pearls, and each flower realised as a joroa blossom of rubies engarlanding a pearl heart. Needless to say, the starling’s eye is a pink chuni as well.

The change — from the Sagarika choor of April '21 (which was in turn adapted from the original Moyna Bagan khopa-brooch from early 2017) — is not in the bird but in the floriation: the flowers are now stone-set i.e., joroa, white mulberries replace the grapes, and the orientation of the foliage is distinctly different.

Also, a combination of setting, stringing (with gold wire), and double-chasing in a single ornament is extraordinarily perilous to achieve for the simple reason that it needs three kinds of specialist karigars working on one goyna with none given the leeway to make mistakes for which another’s craft will be diminished in any manner. Not only does this require coordination and cooperation between three master-craftsman with egos to match the supremacy of their skills, it warrants a heartfelt collaboration as well, and a reasonable cordiality if not bonhomie, among them.
From how magnificently the choor's turned out, the exercise, fraught with risk, has been fruitful.

Moynas love mulberries; and red marigolds, through rare, aren’t unheard of. In a bagan of earthy magic such as this, you can imagine the flora to be what you dream of, the fauna to your express liking, and the hue of the bagan the perfect tone of gold that you feel suits you at all times.
This aureate garden of wish-fulfilment comes as a choor but can well take the form of a hansuli or necklace or choker, if you so desire. Naturally, earrings and rings may follow. Enough said! For now, we’ll leave you to the capuan beauty of your mulberry orchard, brightened by marigolds and the song of the moyna, all of it hand-wrought with great care and consideration in vermilion-tinted guinea-gold.

"This exclusive jewellery design is the intellectual property of M/s A. Sirkar & Co. (Jewellers) Private Limited, applied for protection under the Designs Act, 2000, and the Company, as proprietor, holds exclusive rights to use, reproduce, manufacture, sell, display, and commercially deal in the design, and to authorise others to do the same. Unauthorised reproduction, imitation, manufacture, sale, display or commercial dealing in this design, or any deceptively similar variant thereof, violates the Company's IP rights, and the Company reserves the right to initiate immediate civil and/or criminal proceedings, including injunctive relief, damages, accounts of profits, and delivery-up, against any third party, without further notice."
(*IDOA: Indian Designs Office Application)

16/09/2026

YOU DIDN’T KNOW THIS (But If You’re from South India, Surely You Did) : Why it’s Still De Rigueur for Mangal Sutras in the Deccan to be Strung by Devadasis or Nityasumangalis.

OF PROTECTIVE BEADS, DANCING GIRLS, AND LUCKY THREAD.
Partly on account of the material from which they are made and partly because of the fact that they are perforated, vernacular culture has endowed beads with protective powers provided by resident spirits. An ancient perforated stone implement is hung round the neck as a cure for goitre in Madhya Pradesh. Women wear necklaces of glass beads to protect their husbands and children against evil spirits, and Brahmans in the Deccan tie around the brides' neck Mangal Sutras, or the lucky thread, consisting of gold balls and some black beads strung together by a dancing girl or Devadasi.

To look at this tradition a little more closely, let’s find out who these ‘dancing girls’ are:
THE NITYASUMANGALI TRADITION
Within Indian native discourse, the devadasi, was both a public persona, who led Hindu processions through the streets, and a cloistered figure, a temple servant. Attached to both Shaivite and Vishnu temples, a devadasi was considered a nityasumangali or ‘ever auspicious female’ who, at a young age, was married to god, her eternal divine husband. An important figure within Hinduism, her sexuality was identified with the power of the goddess Shakti and believed to balance the ambivalent nature of the divine, ‘the nityasumangali was a person guaranteed as “danger-proof”: she should be present in those critical moments of balancing the auspicious and the inauspicious’. Through her knowledge of sacred dance and music, she played a pivotal role in temple ritual as mediator between the deity and the devotees.
Tragically, the devadasi today has been reduced to being perceived as a pr******te with no respect from society and oftentimes oppressed by the state.

The devadasi stood at the intersection or ‘intercrossing’ of several oppositional European beliefs. To eighteenth-century travellers and Christian missionaries, dance could never be in service to god, nor could sacredness and sexuality co-exist easily. She was also unmarried and her independence—both socially and financially—empowered her.
These combined traits could pose a threat to the colonial establishment. Unlike the majority of British and Indian women, devadasis ‘were free to engage in sexual relations with any man of the proper caste without public censure and were able to inherit property and bequeath it to their biological or adopted daughters.’

While similarities between the Indian temple dancer, geisha of Japan and high priestess of Athens have been drawn, it is the sacredness in concert with the devadasi’s erotic knowledge that has no parallel in the West.
Without an understanding of the devadasi’s religious role, and the gradual erosion of power of Indian rulers, which led to artists, musicians, and entertainers losing patronage across the sub-continent, the devadasi became a visible target of the nineteenth-century British evangelical and social reform movement that sought to eradicate all ‘social evils’ prevalent in India.

TO DEPART THIS WORLD A ‘SUHAGAN’, A MANGAL SUTRA STRUNG BY A DEVADASI.
‘Devadasi’ is a Sanskrit term which means servant of Deva (God) or Devi (Goddess). This is a kind of religious practice carried on mostly in the southern part of India in which a girl in her pre-puberty period was dedicated to the worship and service of a deity or a temple for the rest of her life by her parents. They would be ‘married’ to the deity and after the ceremony were required to perform useful functions at temples like cleaning of temples, lighting lamps, dressing the deities etc. They were also involved in singing devotional songs, dancing in devotion to the deities, teaching music and dance to the girls and to carry on and develop the tradition of classical music and dance.
Devadasis were respected members of the society and it was believed that they were each an eternally married ‘suhagan’, and would therefore never be widowed. As a result of this their presence at every marriage ceremony for the purpose of stringing together the bride’s Mangal Sutra with gold and black beads was de rigueur. The practice remains, albeit selectively, in the Deccan regions of India.
It is held to belief even to this day that the bride who wears such a Mangal Sutra will depart this world a ‘suhagan’.
Make what you will of that!

(Credits : Indian Institute of Legal Studies blog ; Jamila Brij Bhushan ; artist Sandeep Dhopate)

(In the picture: Cover design of Maya Goray's Book 'Devadasi' courtesy Vitasta Publishing Pvt Ltd)

15/09/2026

Jewellery Quiz :

It’s a little technical, this time’s , in that it is about appendages or auxilliaries to ornaments instead of focussing on any jewel as a whole. Still, this additional feature is delightful enough not to make things too specialistic.
Kshiraswamy, the medieval Indian Sanskrit scholar and lexicographer, did not associate the word ‘kshudra-gantika’ with any specific jewel simply because it’s an auxiliary which when fixed to the main jewel adds an extra charm and sound. Now ‘kshudra-gantika’ means: small (kshudra or alpo) bells (gantika), and these are called ‘karuka’ in certain regions.
There’s a synonym for ‘kshudra-gantika’ that, Kshiraswamy explains, denotes “a tiny object of metal which produces a slight sound.” Between the two words, ‘kshudra gantika’ has been in use for much longer, noticed as early as in the sculptures from Bharhut. The other word was introduced probably during the Gupta period.
This word, meaning “a tiny object of metal which produces a slight sound”, is also termed ‘jhinjhini’ in some places. But can you tell us what this charmingly onomatopoeic word is?

(In the picture: Actress Raashii Khanna, from a photoshoot by Shravan, courtesy World Ethnic & Cultural Beauties)

14/09/2026

Monday Musings

FITTINGS, IN SUPERFAST TIMES.
No stitched dress, like the gown of the picture, will ever drape you perfectly without a fitting. To be exacting is not the same as being persnickety. While the former is a determinant of the excellence of what is desired, the latter merely indicates a foolish fussiness that is either irrelevant to or manages to destroy the very process of creation that results in art.
Having said that, with fine jewellery, as with bespoke garments, the outcome --- how you look wearing the dress or ornament --- is often decided by the 'trial' or 'fitting' of the hand-wrought piece (usually unfinished so that alterations and changes can be effected with ease) where you visit and try on the creation for you and the design head to concur on its form, detailing, volume and fit, the primary design having been confirmed at the time of the order.
It's a bit of a chore, though, to have to come and go just to display a jewel on yourself when, perhaps, the minute difference it would make if you didn't would largely go unnoticed by most. But if it's perfection you want for the jewel, and timelessness, and uncontestable immortality for yourself, the fitting's a must.
A few weeks ago, we delivered a gorget necklace that needed four fittings to complete. And the day-before-yesterday, a fitting for a full kaan resulted in the ornament being summarily sent for re-making.

In these superfast times, such things seem to be fragments of profluent gentility left over from some golden age when ladies and gentlemen of refined taste made certain they would report for their dress or jewellery trials so that there would be no cause for the goyna or garment of their choice to be wanting in fit or finish.
With the rapid commodification of fine gold jewellery, few are the patricians left with patience and depth of consideration enough to know that what they order by way of authentic fine gold jewellery must necessarily enhance the very experience of life and the aesthetic living of it.
It's for those noble souls that we exist. For all they who celebrate mass-manufacture and know only too well the price of their precious jewels and nothing of their value, we remain invisible.

(Painting : 'During the Fitting' by Viktor Schramm, 1900. Of special note is the depiction of shot fabric)

13/09/2026

Parnopushpodhara ——— IDOA* 509252-001

Avowedly romantic, this necklace imagines rain as rain but also as a rain of flowers and leaves —- all encrusted with precious gems. The parnodhara (or, more specifically, tripatradhara) comprises a drizzle of evergreen emerald bel leaves while the pushpodhara sees blossoms of chuni-panna caught in dancing waves of pearled water. The latter, tipped with bright turquoise, adds a touch of whimsy, while the pearl rain, towards the bottom, changes to rubies and emeralds as if to include wayward petals from the flowers above that form an impromptu bunting with the ‘waves’. A single raindrop pearl completes the jewel.
The dangler has for its pasha a large multi-coloured joroa blossom from which a sliver of rain descends to a ruby-set trident bud. Three large raindrop pearls add body to the goyna and secure its place as the matched earring to the necklace.

This is a light and delicate demi-parure, in the unique tradition of Bengal joroa. The combination setting helps the ornament acquire depth; the collets making prominent the flowers and raindrops, while the ‘waves’ and the leaves remain with the pavé setting’s natural gracefulness.
In bright yellow 18K gold, a lovingly hand-wrought, gem-encrusted necklace-earring set that’s some kind of exquisite without being opulent, that’s airy and elegant but never flimsy, reserved (and quiet even) but joyously so. It’s not made specially for rain lovers – which ought to be almost everybody – but genuine pluviophiles could well delight in its sparkling depiction of precipitation that’s as precious as it is pulchritudinous.

Nothing, but nothing, compares to nature — not even a shower where pearl raindrops keep the company of jewelled flowers and leaves in all their ethereal beauty.
There’s one thing though: this affectionately handmade Parnopushpodhara will always bring you happiness; happiness of the kind that’ll see you through the most bleak and Cimmerian seasons in life.

"This exclusive jewellery design is the intellectual property of M/s A. Sirkar & Co. (Jewellers) Private Limited, applied for protection under the Designs Act, 2000, and the Company, as proprietor, holds exclusive rights to use, reproduce, manufacture, sell, display, and commercially deal in the design, and to authorise others to do the same. Unauthorised reproduction, imitation, manufacture, sale, display or commercial dealing in this design, or any deceptively similar variant thereof, violates the Company's IP rights, and the Company reserves the right to initiate immediate civil and/or criminal proceedings, including injunctive relief, damages, accounts of profits, and delivery-up, against any third party, without further notice."

(*IDOA: Indian Designs Office Application)

12/09/2026

REJUVENATING A LITTLE KARKHANA THAT ASSURES YOUR IMMORTALITY IN GOLD

MAKING EACH SQUARE FOOT COUNT, NOT IN TERMS OF MONEY.
In a time when space is monetized to the extent where people with no pecuniary concerns at all willingly sell their ancestral homes within the city to take up residence in exurban conclaves or mofussil housing or satellite townships, and keep the surplus of more-than-tidy cash stashed away somewhere as liquid funds, a business would naturally gravitate even more towards making every "square-foot" count in monetary terms.
We seem to have no perficiency in such matters. A case in point is our little workshop which, bang in the middle of Gariahat, isn't that "little" in terms of real estate.

NO FISCAL FUNDAMENTALISM HERE.
Innumerable advisors have stressed upon "income generating" schemes such as leases and rentals for the place after we've shifted the karkhana to another more “industrially appropriate” location.
It's a legitimate claim, this — by accountants. That's fair too: accountants rule the world. Our global economy is nothing but relentless mercantilism thrown between China and America, recorded in fancy ledgers with lethal calculators that have a habit of making human welfare disappear in the face of the fiscal fundamentalism that grounds the race towards a complete commercial and militaristic domination of the world.
Oof! Now, that's a lot!

WE’RE, FIRSTLY, SIMPLE JEWELLERS.
We're simply jewellers: the manufacturing kind, the sentimental kind, the kind that's inefficient and unprofessional but caringly so, and as well the kind that designs and makes by hand – individually – everything it sells.
Also, the kind that was first to establish quality standards in gold design and manufacturing (our continuous ISO certification dates from 1995), the first to be completely computerised (1991), the first to establish an event (Dhanteras, 1992) that's now become a whole season and a national phenomenon, and the first to establish design authority and ownership (this year) in clear legal terms, though we've been copyrighting selective work for years now.
Needless to say, in an age of relentless scaling, we probably remain the only ones to own and operate our own pollution-free (as certified by the Pollution Control Board) workshop – as against scaled factories – in the city and almost abutting the showroom. It's the same workshop, taken on rent, established by Mr.Rajeswar Sirkar when, in 1956, he inaugurated the showroom after selling his wife's wedding ornaments. A.Sirkar owns the place (the original was a brick and tin shed) now, and has been running it in its more organised form since 1996.

IT’S MONETARILY UNTRADABLE.
This can't be traded in terms of money. It's not just history and sentiment, it's us. Monetizing a space like this would be equivalent to setting up a place of worship for financial gain. Despite the fact that many independent artisans who work exclusively for us have long shifted production to their own premises, the workshop here remains fully functional for supportive services (GoldSpa), urgent manufacture (chains, findings, etc.). and sheet- and wire- rolling requirements. We plan to integrate our own melting and polishing unit as well.

REJUVENATING THE KARKHANA
The pictures attached are of the workshop that rejuvenates your jewellery being rejuvenated. The paintwork is a glossy but soft white on the walls with brilliant white for the ceilings. The lighting is being redone as well. The four sheet- and wire-rolling units — two mechanical and two electrically-operated — have been sent for servicing to the manufacturers and should be back by the end of the month.
You'll see the scrubber (fume processing unit) and the waste-water filter as well that ensure all environmental emission standards are met.

A TOUR, PERHAPS, WHEN YOU VISIT.
When you visit in winter, perhaps we could give you a tour. Such karkhanas have become so much of a rarity now that they ought to be listed as endangered. It's the kind of place where complete artisans with virtuoso skills practice their art in an environment that ensures first their wellness at work. They make fine jewellery from start to finish, the entire process within their own control, with care and pride and deep considerations of accuracy, fineness, and functional perfection.
It’s the kind of jewellery that makes you immortal.

11/09/2026

Exhibitions to Remember : Jewels on Temporary Display that Stay with You Forever.

"Beauty Speaks for Itself" at the National Palace Museum in Taipei .
From September 26, 2024 to December 29, 2024.

It's hard enough to describe beauty or feel its presence when there's no real yardstick for measuring what can or cannot qualify as true beauty. On top of that, if we have to view an exhibition that's titled "Beauty Speaks for Itself", there's reason for us to pause and ponder the risks of confronting such self-assured beauty; after all, we might just not consider what dwells within the showcases to live up to our very own idea of the unequivocally beautiful. That would be a bitter disappointment indeed.
But how would we ever know if we didn't visit? And so, let's to the National Palace Museum in Taipei, Taiwan, for a really unique show.

WHEN IN THE PRESENCE OF BEAUTY . . .
The exhibition title was inspired by the Chinese philosopher Zhuangzi (circa 369-286 B.C.), who claimed that “heaven and earth have their great beauties but do not speak of them.”

For those who have experienced it, beauty — as Plato once argued — isn’t found in the material world but, rather, in an ideal that transcends individual experiences. But what is this unspeakable sensation we encounter when we’re in the presence of beauty? And while we know that beauty is subjective, could there possibly be a set of universal ideals that define it?

IN TAIWAN, "BEAUTY SPEAKS FOR ITSELF".
With its precious collections from the Palace of the Forbidden City in Beijing, the National Palace Museum in Taipei, Taiwan, preserves exceptional works that tell the story of imperial China, from the period of the Warring Kingdoms (5th century BC) to the Qing dynasty at the dawn of the 20th century. Porcelain, silk panels, rare ivory and wood objets d'art, sculptures and ceremonial tableware were presented alongside a selection of rare pieces from the collections of the Musée des Arts Décoratifs in Paris and the Van Cleef & Arpels heritage collection, in an exhibition held in the autumn of '24 at the National Palace Museum. Entitled "Beauty Speaks for Itself", the exhibition was the result of an unprecedented collaboration between three internationally renowned institutions.

NATURE, MOVEMENT, FANTASY, SECRETS, COLOURS.
The originality of the project lies in its scenario: around five universal themes - nature, movement, fantasy, secrets and colours - relating to works from each institution were compared and contrasted. Beyond simple aesthetic comparisons, the pieces selected testified to the quest for technical perfection and ongoing innovation, and illustrated the constant creativity of artists and craftspeople around the world. They also underlined the wonder and curiosity of the art world, through the ages, for other cultural and geographical spheres. These masterpieces spoke of the transmission of knowledge, of the ongoing circulation of iconographic motifs and themes, of the taste for precious materials in all cultures, of the transfer and appropriation from one end of the Eurasian continent to the other. They were also an invitation to contemplation and reverie.

IN SUMMATION OF THE EXHIBITION.
With over 260 works of art, Beauty Speaks for Itself showcased an impressive array of objects, including ceramics, glass, bronze, jade, silver, gold, textiles, and wood. The involvement of the French Maison, in particular, treated visitors to an impressive selection of jewellery pieces from its archive.
Japanese architect Tsuyoshi Tane, who designed the exhibition space, drew inspiration from shadow puppetry, creating a mesmerising atmosphere that left visitors lingering between dream and reality.

What fascinated most about the exhibition is how the objects on display truly exemplified the notion that beauty speaks for itself. The dialogues that emerged from the arrangement, too, were refreshing. On top of that, the richness of the collections, when combined, invited visitors to reflect on their own definitions and ideals of beauty.

When asked to define beauty, Béatrice Quette, curator of the Musée des Arts Décoratifs, responded, “When something is able to evoke my emotions, it is beautiful.”

While visitors to this exhibition came from diverse social and cultural backgrounds, it’s evident that they all shared a deep appreciation for the works of art before them. Some pieces impressed, while others awed and surprised. Perhaps, after all, beauty is universal. While beauty may speak for itself, it can certainly be found to whisper through its details.

(Article and photos: MAD Paris, National Palace Museum official site, shaopeng blog.)

10/09/2026

Saral Sakkhyo Pasha

To be witness to the beauties and brutalities of history is either a boon or a curse or a mix of both for our eyes, not because we see with them the wicked and the wondrous together but in that we do little with them than just record the two occurrences.

We all have a third eye that's invisible. It's the eye of the mind, and of the heart, and somewhat of the soul, though what of the last remains in the age of artificial intelligence and vanishing selves deserves deep consideration.

The presence of this third eye is undeniable, and yet most of us are not conscious of it or are oblivious to it by design as it necessitates action which few would hazard at the cost of the lagom we aspire to or the personal peace and wellness we so emphatically strive for.

Be that as it may, this jewel uses the third-eye lotus for its guiding symbol and surrounds it with swirls of foliation that appear more as waves breaking against the flower that floats in turbulent waters than as lacustrine fronds wafting gently in a late monsoon’s rain-sweetened breeze.

Framed by a notched naksha cord that’s bordered with a line of chhela topas, this small and light pair of pashas pays homage to the power we all have within us to be simple witnesses to history and then, by using our third eye, to turn our observations of evil therein into a quest to quell the vile, all the while trusting divinity and having faith in the strength of magic.

You don’t need magic to trust in magic. It’s good enough to believe and be positive and attract everything positive towards you. A simple heart, like a simple mind, needs to be protected, if not for anything else but for the purity of thoughts and feelings each harbours. The third eye shields and preserves both and as well leads the charge against fiends and monsters who choose to desecrate either.

Be aware : There’s nothing talismanic about this guinea-gold jewel that’s been crafted with great care and interest by hand, but there is something magical about its soul. The chased and perforated plant is given a discal setting and this takes the form of a powerful impresa without any discernible motto. It’s not needed because the pashas are a call to action for us, with our third eye firmly in play.
Simply put: The ataraxia we all seek cannot come from seeing alone, but, vitally, from doing all that’s necessary to secure for ourselves the divinity inherent in us. Being simple witnesses to moments historical is not enough, we must create some truly meaningful history as well.

All copyright and other intellectual property rights in this image and its contents, including without limitation all trademarks, logos, designs, artworks, photographs, and the overall visual presentation, are the exclusive property of A Sirkar & Co. (Jewellers) Private Limited. Any reproduction, adaptation, distribution, display, or other unauthorized use of this material, in whole or in part, without prior written permission of A Sirkar & Co. (Jewellers) Private Limited constitutes an infringement of our intellectual property rights and will invite appropriate legal action.

A Sirkar & Co. Jewellers

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