Mina is the feminine form of Minoo in Persian, meaning heaven. Mina refers to the Azure color of heaven. The Iranian craftsmen of Sasanied era invented this art and Mongols spread it to India and other countries. French tourist, Jean Chardin, who toured Iran during the Safavid rule, made a reference to an enamel work of Isfahan, which comprised a pattern of birds and animals on a floral background in light blue, green, yellow and red. Gold has been used traditionally for Meenakari Jewellery as it holds the enamel better, lasts longer and its luster brings out the colors of the enamels. Initially, the work of Meenakari often went unnoticed as this art was traditionally used as a backing for the famous kundan or stone-studded jewellery. This also allowed the wearer to reverse the jewellery as also promised a special joy in the secret of the hidden design! Meenakari is not just confined to traditional Jewellery but diversifies into more modern products, often with a copper base, including bowls, ashtrays, key chains, vases, spoons, figures of deities, and wall pieces. It is a great work for any kinds of vase of marble things. The traditional process starts with the designer (Nacquash, Chitera) and moves on to the goldsmith (Sonar, Swarnakar), the engraver who engraves the design (Kalamkar, Khodnakar), the enamelist who applies the colour (Meenakar), the polisher (Ghotnawala, Chiknawala), the stone-setter (Jadia, Kundansaaz), and the stringer (Patua), all of whom are ingredients of an important chain of craftsmen that create the finished product. However, due to paucity of skilled tradesmen often a single artisan wears many hats as it is the experience gained over the years that comes in handy to perform a multiplicity of tasks.