Sourcing Time - India

February 2026

For as long as I can remember, I have wanted to come to India — not simply to visit, but to search and explore. As a child I imagined going on adventures and this journey feels, in many ways, like stepping into my own version of a gemstone-finding Indiana Jones adventure, though with more notebooks and fewer dramatic escapes.

The travel has deliberately been slow by rail between New Delhi, Jaipur, Jodhpur and Jaisalmer, in order to take in the changing flat landscape punctuated by sandstone forts rising from geological outcrops. From a distance they feel less like monuments and more like formations — built, weathered, and absorbed into mysterious time.

I arrived in Jaipur with a clear intention: to source unusual sapphires. Their depth, colour variations, and geological history have long drawn me. But stone shopping has a way of widening focus and changing will power. As trays were opened with sapphire, moonstone, aquamarine, rubies, tourmaline, I found it somewhat difficult to resist and of course ended up with more stones that planned.

When evaluating stones I am not particularly looking for brilliance or spectacle but for presence, uniqueness, a story, or the perfect in the imperfect. A sapphire whose colour, depth and shape feels grounded, real, but mysterious rather than electric. A pale aquamarine feeling like the calm and cool of water. A moonstone whose sheen feels atmospheric rather than just decorative.

Raw sapphires with a fantastic inner glow.

Some days required patience. A stone that glows under one type of light can look different under another. I find it important to take ones time as the stones must endure beyond first attraction so I handled dozens before selecting one, which is the great advantage of sourcing stones directly.

This design is really meant for moonstones but I could not resist playing a bit with colour (emerald, ruby, tanzanite).

Travelling between cities by train, with dust in my hair and gemstones in my pocket, I felt that long arc of fascination closing in on itself — from childhood curiosity to geological study to the act of choosing stone at its source.

Sourcing directly brings enlightenment. Each gemstone carries geological time, but also labour, trade, and handling. Conversations over tea with suppliers were as important as the stones themselves — discussions of origin, treatment, cutting, and quality. Building the trust and connections is extremely valuable.

Outside the gem markets, I studied tribal silver jewellery — weighty pieces worn by women as, objects of protection and identity rather than ornament alone. Their presence seem structural and they occupy space with an admirable certainty.

Antique tribal jewellery. I found this piece so lovely I simply had to purchasing it.

The strong light in Jodhpur and Jaisalmer, makes pigments fade unevenly across painted shutters and walls, leaving traces of former intensity and changing the texture of the surface. From the top of the forts, towns dissolve into haze and edges softened by distance. These are forming observations leading to thoughts about colour and light, about how surfaces endure and the textures time and light create.

To source stones directly, to see where materials move and change hands, to understand their journey before they enter my studio, deepens my understanding as a maker. Each gemstone carries geology, labour, trade, culture, and time.

This India experience has been vivid, generous and layered. Like all meaningful material research, its influence will reveal itself slowly over time. I look so much forward to starting this work and sharing it with you.

Saleel Zaman

Meet the Makers is an ongoing series featuring artists and makers I admire.

In "Meet the Makers" I share the work of artists I genuinely admire — people whose practice, values and way of working resonate deeply with my own. These are makers whose work I return to again and again, not only because it’s beautiful, but because it carries intention, story and care.

The first artist to be featured is the wonderful Saleel Zaman.

Saleel Zaman is an artist who creates extremely detailed fine liner pen drawings. He takes most of his inspiration from his rich cultural heritage with links to the Punjab, Pakistan and the UK.

 He is very fond of his family’s history, which has deep historical connections to the Indian subcontinent, Britain and the wider world due to his forefathers' service within the British Indian army. 

 Growing up he was fascinated by stories shared within the family of their culture/traditions and original ancestral roots from the foothills of the Himalayas. They also shared spiritual thoughts and activities that took place in that region.

 He is deeply inspired by these ancestral roots and likes to create art that reflects on this to make him feel more connected to his ancestors and the culture of his forefathers.

Saleel exhibits at selected venues and events throughout Berkshire. You can see more on his Instagram page www.instagram.com/Art.S.Zaman

Why Turquoise ?

Teal green/blue turquoise in a brown copper matrix.

Turquoise is one of the world’s oldest and most beloved gemstones, instantly recognizable by its soothing blue-green hues. Worn by royalty, shamans and artisans, traders and travellers. Turquoise has crossed continents and centuries as a symbol of protection, prosperity, healing, and spiritual connection. Its history is rich and intriguing and I would love to share some of it here.

What Is Turquoise?

Turquoise precipitated in yellow sandstone.

Turquoise is a hydrated phosphate of copper and aluminium, formed in arid regions where water percolates through and slowly alters copper-rich sedimentary and igneous rocks. Its iconic colour—ranging from white, sky blue to greenish teal and yellow—comes from copper and iron. The opacity and relative softness of the stone has make it especially suited for carving, inlay, and bold jewellery designs throughout history. It has always been cherished not just for rarity, but for its symbolic power and visual impact.

Historical significance.

Ancient Egypt (c. 3000 BCE)

The earliest known turquoise mines were located in the Sinai Peninsula and worked by the ancient Egyptians over 5,000 years ago. The Egyptians adored turquoise which was used extensively in jewellery. It adorns the burial mask of Pharaoh Tutankhamun, symbolizing rebirth and divine protection in the afterlife. Egyptians associated turquoise with the goddess Hathor, protector of miners and bringer of joy. Ancient Egyptians valued the highly priced turquoise so much that they were also the first in history to create imitations of the stone in the form of glazed faience (a type of ceramic).

Tutankhamun mask with inlayed Turquoise, Lapis Lazuli and Carnelian.

Persia (modern-day Iran)

Persians were among the most influential users of turquoise. They believed that changing colour in a turquoise stone warned the wearer of danger or illness. Persian turquoise was often set into swords, crowns, and mosques—its colour symbolizing heaven on earth. Even today, Iranian turquoise is considered some of the finest in the world.

Ancient China

In China, turquoise was carved into decorative objects and ritual items. It symbolized wealth, status, and the harmony between heaven and earth, and was often used alongside jade.

Mesoamerica (Aztecs & Mayans)

In Central America, turquoise was highly sacred. The Aztecs used it in elaborate mosaics to decorate masks, shields, and religious artifacts. It symbolized fire, the sun, and divine authority.

Native American Jewellery

In North America, turquoise became central to Southwestern Native American jewellery. From the late 19th century onward, turquoise set in silver became a defining style of Native American craftsmanship that remains globally influential today.

Europe

During the Middle Ages, turquoise travelled to Europe along trade routes from Persia and the Middle East. The name “turquoise” itself comes from the French word turquois, meaning “Turkish,” since the stone entered Europe through Turkey. European nobility believed that turquoise would protect riders from falls, prevent poisoning and would bring harmony to marriages. The stone became especially popular in Renaissance and Victorian jewellery, often set into rings to convey loyalty and eternal love.

Where Is Turquoise Mined?

Today turquoise is mainly mined in the United States, Iran , China , and Mexico, with smaller deposits existing in Afghanistan, Chile, and parts of Central Asia. As natural turquoise is not that common, it commands a higher price and, due to this, there are many fakes, imitations and synthetic stones on the market, such as coloured howlite and magnesite. A unnatural evenness in colour and texture is a give away to recognise these fakes. It should also be noted that natural turquoise can be porous and soft and stones may be stabilized with resin to improve hardness and colour consistency. If the turquoise stone is stabilised this should be notified by the jeweller - if you have a suspicion its wise to ask.

Turquoise in Harmattan Jewellery designs.

The Ra and Nefatari necklaces of the Egyptian Collection. Featuring turquoise, lapis lazuli, carnelian and gold in ancient Egyptian inspired patterns.

In Harmattan Jewellery I consequently only use high quality genuine turquoise in the designs. I do this to to honour the connection of the designs to ancient art and because I love the texture and colour variations in natural stones, which give the jewellery character, make it unique and come to life. I predominantly use turquoise in the Egyptian Collection, which feature patterns and designs inspired by this ancient culture. Just like the ancient Egyptians, I favour combining the turquoise with dark blue lapis lazuli from Afghanistan and orange / red carnelian from India as well as gold.

The genuine high quality turquoise used predominantly come from Arizona, U.S.A..

Harmattan necklaces featuring ancient Hubei turquoise beads combined with other colourful semi-precious gemstones.

I also on occasion have had the good fortune to acquire some ancient Hubei turquoise beads. In the photograph to the left you can see the marked difference in colour and texture compared to the American turquoise used in the Ra necklace above. Both types of turquoise are high quality and stunningly beautiful.

So to answer my leading question "Why Turquoise", the answer would have to be that few stones are so varied and yet recognisable, colourful and evoke such immediate associations and connections with different cultures, history and the ancient world.

If you would like to dig deeper into the Egyptian Collection by Harmattan please click here:

Egyptian Collection