Śukti · Sadaf
Price on Request
Origins
The Ashwamedha horse: in Vedic ritual, a stallion loosed for a year, every land it crossed unchallenged claimed by its king . Above him the Pegasus sprang from Medusa's blood, struck Mount Helicon to release the Hippocrene, the spring of inspiration, and was finally set among the stars, his flight made permanent. The Ashwamedha horse: in Vedic ritual, a stallion loosed for a year, every land it crossed unchallenged claimed by its king. Between them, lapis holds three minerals. Lazurite opens the third eye, calcite awakens the mind, pyrite turns thought into reality. The shape an inverted Trikona (Triangle) hold and directs this energy.
Sovereignty, made real.
Worn, it asks no permission to enter a room. It walks in already, quietly, unchallenged.
Making
Rearing horses sculpted in wax by hand and re-cut until stillness looks mid-stride. Each rose-cut Himalayan crystal is individually bezel-set, and the lapis is domed and set flush.
Celestial Geometry & Royal Lore
Inspired by the grandeur of ancient imperial courts, this piece bridges timeless Vedic ritual with celestial myth and divine symmetry. Every curve echoes sacred geometry, channeling courage, nobility, and timeless grace.
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STORY BEHIND
Śukti · Sadaf
Pure 22K Hallmarked Gold. Hand-sculpted links. An eternal statement of royal elegance.
Patient radiance, finally seen
The Qing feather is the moment of being seen. The Gupta coin shows power feeding what is beautiful. The Svati story says the light was always forming, one drop at a time, and nacre is that story in layers. Together they make recognition that does not have to be chased: the wearer’s work has been quiet and layered for years, and the piece says that when the light finds it, it will already be luminous.
LEVEL 3 — THE MAKING
The disc is a chequerboard of shell. Each tile is cut, ground flat, and fitted against its neighbours with tiny gaps, so the pearl seems to be tessellated. The peacocks are sculpted in high relief, and their tails open into pierced marquise leaves, each with its own stone set in a tiny claw. Every one of those settings is a separate piece of work, and the tail is dozens of them, which is why the piece has presence and no weight problem.