Art is a window to culture and history, and the jewelry as a form of art, from ancient to present, that as regardless of the beauty aspect, it has a symbolic value based on the beliefs and cultural relations of any society. Thus, contemporary Indian jewelry, with its components, has always expressed the tradition, historical identity and rich culture. Communities with the simultaneous presence of different cultures in India has not diminished, but rather have evolved alongside its historical and cultural developments. In such a way, the presence of multiculturalism can also be seen in its jewelry. Therefore, in this study we aim to explore the triple pattern of artist-text-audience, from the basic concepts of Bakhtin's dialogism, while examining the components of Jewelry making, and their cultural relations in formation. The study considers how amidst the continuation of European culture, industrialization and communication with the West, has manifested in the production of Indian jewelry. The goal is to understand the extent to which Islamic cultural elements, have influence the formation of Contemporary jewelry of India. The findings were derived from a descriptive-content analysis method, which indicate that what has guided the creation of jewelry based on this model is a kind of connection between the speech of the artist and the speech of the cultural components as "other" in the text. Artist in the creation of ornaments was primarily the primary influenced by these cultural components. Thus, he has never been entirely independent in his creations. However to objectify the appearance and enrich the content of the ornaments, he engages with the culture of "other", which, prominently, incorporates the components of Islamic culture.