Kundan Jhalars ......The Cascading Earrings.

Kundan is an art of jewellery making that flourished under Royal Patronage of the Mughalls in India. The process through which precious stones, gems and beads were set on the gold ornament was known as Kundan by the karigars of yore. Making kundan jewellery required great skill and a fine eye for detail. Hence this talent was like a precious heirloom passed down the generations of karigars supported by the Royals.  

In the Mughal period this form of jewellery was extremely coveted by the Empresses and Princesses of India. When worn with their heavily zardozied gold and silver brocade wear with jewel colours to enhance the traditional garments; the Kundun became a mirror image of the finery. This Glittering Kundan jewellery assemblage complimented the heavily created antique garments called: Peshwaz, Angrakha- Churidar, Dhilja, Garara, Choga –shalwars, and Farshi. 

Kundan jewellery is a painstaking art. It is created by setting carefully shaped, uncut diamonds and polished multicoloured gemstones into an exquisitely designed pure 23 carat gold base.The elaborate process begins with the skeletal framework. Thereafter, wax is poured onto the framework and moulded according to the design. Following this is the Khudai or "dig out" process of the wax, when the stones or uncut gems are fit into the framework. Meenakari or enameling is then used to define the design details. Next, gold foils are carefully fitted to hold the gems into the framework. Finally, the gems are polished to a glistening shine.

The art of Kundan jewellery from the Mughal courts then travelled to the Palaces of the Rajput Royalty who were close collaborators of the Mughal Emperors. Karigars from Delhi were taken to the desert kingdoms. 

In Rajasthan Kundan flourished to a greater degree. The vibrant colour traditions of the Desert Kingdoms was just the platform this art form needed to come alive! The women of the Royal Rajput Clans were besotted with this kind of unique jewellery that could blend beautifully with their colourful Leheria and Bandhej Gota-work Odhnis, Ghagras and Saris. 

Besides the original work of precious gems being used in Kundan it now saw an innovate concept whereby the gems were replaced by vibrant rani-pinks, purples and yellows in glass. Crafted like gems these glass stones were added to gold to create a kaleidoscope of colours and affordability.

The Kundan had now emerged from the Palaces of Kings and the Gharanas of the Dhani to glitter among all people.  

Much before the creative concept of the Chandelier Earrings the Kundan earrings of Indian origin saw a leap in design and concept. The designers and karigars of Delhi and Rajasthan floated the KUNDAN JHALARS into the Indian Jewellery Markets. 

These were long length Earrings short of touching the shoulder that looked like sparkling edgings called Jhalars used in traditional Indian clothing. Because of their cascading effect, these Kundan earrings are equated to ornate hangings called Jhalars. 

These Jhalars gave the karigars a large canvas to work with. All kinds of intricate designs of flora and fauna coupled with traditional ancient Mughal and Rajasthani Hindu influences found themselves crafted into this exceptional ornament.

Though the trend of the day is the Chandelier Earrings but the Kundan Jhalars maintain their own traditionally ethnic mark on the Repertoire of Indian Jewellery. 

Kundan Jhalars are an integrals part of the Bridal Jewellery of India and because of its strong traditional appeal it is an ornament that is here to stay!

Chandelier Earrings ........ When East meets West

A creative design knows no boundaries. When the soul of an artist soars with wings of inspiration it breaks all barriers of limitations till it reaches a scintillating explosion of a new creation. 

Such was the coming of the Chandelier Earrings when East was inspired by the West. 

 The ancient cultures of India left an indelible mark on the jewellery designs of the world. Several new innovative concepts in  design coming from the West are obviously influenced by the jewellery cache of Indian designs, but sometime in the late twentieth century the East was inspired by the West!

Indian jewelers modified their traditional jhumkas, jhalars and chand-balas to give them a more westernized chic appearance by innovating the design format of earrings based on non other than the Chandeliers....the magnificent and elaborate ceiling lights of the Palaces and Opera houses of the Western world which were like a bejewelled piece of art hanging from atop!                                                                                                                          

 

The word 'chandelier' is instantly synonymous with class; ornate hanging lights that are just as much decoration as they are light sources. From its beginnings it was associated with wealth and power and a burning symbol of success and social status. 

During the 18th century glass chandeliers were produced by Bohemians and Venetian glass-makers who were both masters in the art of making chandeliers. Bohemian style was largely successful across Europe and its biggest draw was the chance to obtain spectacular light refraction due to facets and bevels of crystal prisms

The sheer lavishness of these chandeliers set the standard for royal grandeur across Europe. For example, in 1667 Charles II of England proudly noted that he owned a rock crystal chandelier made in the Louis XIV style. France set and unified the fashions across Europe during this period and French Baroque would continue to influence designers, being revived on multiple occasions in the coming centuries..

In India the Princely states imported these magnificently grand crystal Chandeliers from England, France and Italy to adorn their Palaces. The most favoured styles of Chandeliers were the ones that were resplendent with hundreds of crystal prisms refracting the light of the electric bulbs glistening like a collection of a thousand diamonds, creating an aura of glitter and splendor in the Durbar Hall of the Maharaja. 

Different coloured crystal prisms were also used to set each chandelier apart. Blue, green and red glass crystals to impersonate Sapphire, Emerald, Rubies and Diamonds. A favourite facet of the Indian penchant for Chandeliers was the crystal 'droplet' which represented a diamond!

These expensive and stylish Palace and in later times home decor heirlooms, gave a unique and brilliant inspirational pathway to design in the twentieth century to jewellery in India.

The Chandelier Earrings!

Long Earrings practically touching the shoulders are designed in the style of these hanging opulent ceiling chandelier lights.Dazzling Diamonds, Sparkling Sapphire, Resplendent Rubies, Incredible Emeralds and other twinkling translucent gems are used to create a spectacular copy of the illuminated Glass Prism Chandelier.

As in their electric counter-part these gorgeous, stunningly glittering earrings are a status symbol as only the very wealthy can afford such a mix of precious gems or just flawless diamonds in a single piece of ornament. 

A woman wearing a pair of Chandelier earrings is an alluring picture of prominent wealth, grace, style and class in the social corridors of the high strata she moves in.

A pair of Chandelier Earrings says it all!    

Chandbala ..... The Crescent Earring

The Bali or earring that loops the earlobe is an ancient ornament in the Indian collection of jewellery. The Bali underwent different changes at different times down the ages. The small Bali that hugs the earlobe as it grew in size and looped the earlobe without touching it was called the Bala. It was a thick pipe of gold designed as a solid hoop of different sizes. 

With the Mughal Invasion of India five centuries ago, the New Rulers of the land added their own mark to the ornament repertoire of the country.

The Mughal royalty were connoisseurs of jewelry. During  their rule, jewelry-making was given utmost importance. This fondness gave birth to unique jewelry pieces studded with chunky gemstones and enamelled with motif designs.

The Bala too underwent a change and was now redeveloped to include the Islamic influences of the Mughals. 

The Islamic icon of the crescent moon was incorporated into the Bala.

The curve of the bala was turned into a replica of the crescent moon. This solid addition was a craftsman's delight! The designer played around with various motifs within the crescent. 

Mughal jewelry being a marriage of Indian intricacy and Middle Eastern elegance; the now innovative Bala combined  Indian gold work with Middle Eastern floral designs. These stunning earrings were beautifully crafted out of fine enamelled gold, laden with multiple large gemstones, pearls, and premium beads.

The floral designs within the crescent were encrusted with various glistening gems which were abundantly used in Mughal jewellery. Mughal craftsmen used precious gems like diamond, sapphire, rubies, emeralds, jade, polki, tourmaline and topaz in their ornaments. 

The unpretentious Bala now turned into an elaborate ornament of Royal penchant! This new creative ornament was given the name CHANDBALA. 

It truly was a breathtakingly beautiful ornament! The length and breadth of the hoop was extended as far as possible to make it a spectacular and sparkling ornament which could not be ignored. 

The entire crescent on the bottom was strung with delicate rows or bunches of pearls to offset the radiance of the precious gems within it. Pretty strings of pearls were added to the top of the ornament ending in a small gold hooks to be pinned on to the hair. Some Mughal earring-strings were so long and thick that they almost covered the whole ear.

The Chand bala became a favourite with the Mughal Empresses. They sported this ornament at Dawats, Durbar appearances, Weddings, and Palace gatherings. It was basically a Royal Ornament because it was too pricey for the laywoman to own it.   

Centuries later the Chandbala was again glorified in the movies made by Bollywood. And since the advent of cinema in India, Hindi films are a fashion trend-setter for the Indian-Subcontinent and its Diasporas all over the world. 

Today the Chandbala is a favourite ornament worn by women of the Indian Subcontinent with their traditional attire.

The crescent hanging outwardly on either sides of the face adds glamour and joie-de-vivre to the profile of the  woman who wears it, making them as alluring as the Mughal Empresses of Yore!

Solitaire Diamomds .... The Most Precious of all Ear Studs

           

A solitaire diamond centuries ago was only within the reach of Emperors, Kings and Queens. 

History is witness to how these carbon stones had turned Majestic and Illustrious Rulers of Powerful Nations around the world into ordinary thieves. 

These Royal Rulers stole these indigenous  diamonds from countries they colonized to their Kingdoms and thereafter transferred these gems to their own country to disable their return to the land of their origin.  

                                                                 
 There are a few pieces of jewellery in the Modern World that by pass the entire repertoire of ornaments. The most coveted and desired of these are the Solitaire Diamond ear studs! It is the prime heart's desire of a high society woman from anywhere around the globe. The sparkle and subtle vibrancy of this shimmering solitaire diamond sitting like a majestic unparalleled jewel on the earlobe of a fortunate woman of great wealth is a source of envy and desire  for all other women. 

The sparkle of a diamond comes from the way the stone is cut . It was a young physicist named Marcel Tolkowsky who perfected this arcane art in 1919.

He discovered the 57-facet "Brilliant cut"- the quintessential shape in which almost all diamonds are cut today.

Tolkowsky's cut creates, in effect, a very expensive kaleidoscope. the 57 facets create a huge number of internal pathways along which light entering the stone can travel. the light that appears to pour from a diamond under certain lighting is the result of Tolkowsky's pattern bouncing light around. his work maximises two key aspects of a diamond's shine---Brilliance and Fire!

Because of its value the choosing of a Solitaire is no mean business. It must be purchased from a jeweller of  high reputation and pristine quality standing. The bigger the diamond the finer should be the scrutiny of the gem. Knowledge of the value and intense appraisal of the stone is mandatory.     

The colour, clarity,cut and shape of the Solitaire diamond has to be considered before buying it. 

Solitaires come in different shapes like Round, Princess, Pear, Oval, Heart, Emerald, Cushion and Marquise. 

Round is the most expensive as it is a luxuriously rare. perfect precision cut.  The other cuts cited above are also chiseled from an uncut raw diamond but these cuts are easier to craft than that of a round cut diamond. 

The weight of a Diamond Solitaire called a carat is prime in the value of the stone. As the size of a diamond increases in carat so does its premium value quotient per carat. 

Cut ,Colour , Carat and Clarity are also factors that increase or decrease the value of a Solitaire diamond. 

There are gradations in the Colour of a Solitaire. The most rare and expensive is classified as 'D' which means colourless. The Colour Scale of Solitaires go down the alphabetical order denoting its value and price. 

 On the Clarity Scale.... 'IF'--means internally flawless; a rare gem.... than VVS1...VVS2 so on and so forth. 

The Solitaire diamond therefore is a class by itself on the scale of brilliance, beauty, sparkling radiance and  worth in the mind of a woman who has a discerning eye for gems and jewellery. 

Worn without any other ornament; sitting pretty on the earlobes of a beautiful woman the Solitaire diamond studs command a place of awe in the eyes of the beholder.

The Ear Studs ......An Illusory Sparkle.

The ear stud from ancient times is a unique creative concept conceptualized ever since the creation of jewellery.  In the repertoire of jewellery it holds its own classic position as an illusory piece of ornament. 

Sitting on the earlobe the stud creates an illusion of a sparkle on either sides of the face. Studs are usually gems set in precious metal that flush into the earlobe as though they are afloat on the cartilage.

In ancient India the stud had always been flaunted by both men and women for centuries, but with the colonization of India and western fashion styles emulated by Indians, the stud in the nineteenth and part of the twentieth century was worn only by women in the urban areas. 

 In rural India the stud generally made a fashion statement in gold or silver. The glow of these precious metals lent a subtle sparkle to the face of the villagers. Flushed into the earlobes they were generally a blob of an ornament that cleverly showed no other part of its mechanism which was hidden behind the earlobe. 

Down the centuries as cities were built and people got richer the gold or silver stud was replaced by precious gems. Single gems like rubies, sapphires, emerald, coral, and  pearl were worn for their astrological influences.

The nine gems of the Nakshatra or planetary representations; were used as studs to adorn and touch the human body at all times to maintain peace balance and harmony in life.                                 

Innovative designs saw the stud change as time marched on. Maintaining its limited form; the genius of the artistic flair of the designer saw the stud transform into various floral and geometrical patterns of the stars and planets in intricate and delicate creations. 

The wealthy preferred to wear single large gems as studs making a status statement on their earlobes. Only a wealthy woman could sport a single gem be it a ruby emerald sapphire or diamond considering the value of these singular gems.  

Ear studs also lead to a unique idea of wearing a single gem as a drop around the neck and a rock on the finger to compliment the bejewelled ears.

A favorite stud worn the world over, was and still is the pearl. The austere pearl is a gem of class, dignity, and majesty; the pride of a woman. Sitting on the earlobes it sparkles in a subtle way adding grace and charm to the beauty of a woman. 

This ornament led to the creation of the most precious and expensive of all studs.....the SOLITAIRE DIAMOND. 

The ear stud is a piece of jewellery which enhances not only the status of a woman but also lends a twinkling sheen to her mystery! 

The Karanphool and Jhumka

The jhumka is a beautiful ear ornament with an exclusive Indian influence. It can be exceedingly elaborate or simple and dainty. The size of the jhumka varies from the obviously large to the modestly small. 

The jhumka is composed of two elements. A round disc called the karanphool which sits on the earlobe and dangling from it is an inverted cup or bell which is called the Jhumki or katori and together this ornament is called the Jhumka..

The Jhumka can trace its roots back to the desert kingdoms of Rajasthan. In a  parched desert region where flora is rare the conceptualization of this piece of jewellery was an expression of the beauty of verdant nature. 

Karanphool means a flower for the ear. The Jhumki or inverted cup symbolises the scarcity of water in this region and the two elements put together signify the sacredness of these two gifts of nature which are scarce in the desert. 

These two components of the ornament were detached and could be worn individually too. The Jhumki could be strung into a simple Bali while the Karanphool worn by itself. 

In Rajasthan the Jhumka is set in gold with uncut diamonds, rubies, emeralds and sapphires. Gold balls and beads are generally interspersed to offset the brilliant radiance of these precious gems.  Strands of gold beads strung in gold wire or thread attached to the top of the karanphool or behind it, are either taken around the ear to support the weight of this piece of jewellery or these saharas can also be pinned to the hair to minimize the weight on the ear. 

In various parts of India the Jhumka was generally crafted in solid gold. There is as always a spiritual essence to this piece of Indian ornament. It also symbolized eternal life with the blessings of spiritual awareness. The round disc or Karanphool, worn on the lobe is a representation of the Sun which is a life giver and hence considered most sacred in Hinduism and the hanging jhumki or bell symbolizes the intermittent auspicious silence of spirituality between the two rings of a bell. 

During the Mughal period the Karanphool and the Jhumki became one solid ornament crafted often in meenakari, and in gold embedded with uncut rubies, diamonds and emeralds. Also strings and bunches of pearls; the hallmark of Islamic culture, were attached to the Jhumka. The designs now took on common patterns of Islamic influence. 

The jhumka is a common thread running through the jewellery repertoire of India. Tiny Jhumkas in gold are also crafted for little girls to be worn at weddings and religious ceremonies  from a very early age. 

 Be it north, south, east or west the Jhumka is worn by all Indian women.

 Ballads and songs have been penned by poets romanticizing the jhumka as the cynosure of the lover's love lorn pinning. The jhumka is the all Indian feminine ornament adored by one and all.

Down the centuries the Jhumka underwent several transformations in design and shape yet it maintained its original ethnicity. Sometimes the Karanphool was replaced by a bejewelled petal or a filigreed leaf; and many a times the Jhumki had a precious ruby or emerald dangling from inside of the bell or cup.

In the twentieth century the Jhumka took on a chic contemporary look. It now was set in diamonds and other precious gems complimenting the colour of the ensemble worn by the woman. The dazzle of sapphires combined with crimson rubies or the irredescent sparkle of the the diamond coupled with glowing emeralds made a style statement of their own!

Whether traditional or contemporary the Jhumka is a unique ear ornament exclusive to the culture and style of India!

The Bali or Bala ......The Branding Ornament.

  

The Bali also known as a Bala is a ring ornament worn usually on the lobe of the ear and derives its name from the ancient Sanskrit word baali meaning sacrifice. This ornament in the shape of a loop or hoop in cheap metal; was used instead of thread as a strong 'marker' for branding livestock to show ownership or group them to be offered at the altar of the Gods of a particular master or tribe. 

This branding was also a practice of ancient tribes to mark their slaves and hence was worn by both men and women who were usually farm-hands and labourers working for a particular tribe or rich landlord or dhani.

The practice of using a Bali as a sacrificial or branding marker was abolished and it found its place in the jewellery repertoire of ethnic Indian people; henceforth it was cast in precious metals like gold and silver. 

The Karnavedha ceremony or earlobe piercing of a Brahmin male child is performed during theUpanayanam or thread ceremony. Later this practice was also relegated to the girl child and was not performed amid Vedic chanting or by a priest but by the goldsmiths who were experts at knowing the ancient acupressure point of ear-lobe piercing. Even till date when a child's earlobe is pierced it is done directly with a gold or silver Bali by the goldsmith. 

The tiny gold Bali is usually worn by the girl and then it is replaced by an ear ring of choice. 

There is a difference in design and style of Balis worn by young girls and women. The balis worn by girls are less ornate and lightweight so as not to be cumbersome for the girl.

For women the Bali evolved on the scale of weight and design. 

The Bali or Bala has been designed and crafted in many different ways. In the tribal culture it was designed in heavy gold with animal figures on the bottom arch of the earring while the rest of the hoop was etched in the flora of the forest.  Later as tribes got urbanized the Bali underwent a transformation of sorts. Now the Bali had a more modern look. They were of different shapes and sizes: round, oblong, elongated and tiny loops just touching the ear lobe. Solid gold tubing was used to make the Bali. The thickness of the tube varied according to the design crafted.   Many different craftsmen found this jewellery piece to be an expression of their creativity.  Some were just plain gold loops while others were heavily etched in patterns. Many had small gold balls and Pattis attached to the arch to add a touch of piquant to the piece. Unique patterns styled the Bali with a central beaded dangler of precious gems that moved within the hoop. 

The Mughal rule of India added its own touch to the Bali. Now the Bali had pearls hanging like a shower of dew drops from the bottom arch to give it a feminine touch. Many elaborate Balis were designed with tiny pearl drops all along the arch while some were studded with fixed pearls or precious gems along the outer rim of the Bali. To support this elaborate ear ring strings of pearls were attached to the top of the hoop which were then fixed into the hair. These strings were and are still called saharas which means supports.                                                

The Bali underwent further metamorphosis in the twentieth century. They were now as large as a bangle worn usually by younger women. These bangle Balis were in solid looking but light -weighted gold. Later still the Bali was studded with emerald rubies sapphires and diamonds, set either in gold or white- gold and platinum. 

It didn't end here the Bali made a comeback on the ear lobes of Men too! 

The Bali though with a history of ancient cultures has survived the onslaught of time and still maintains a place of pride and style on the earlobe of the fashion conscious Glitterati Set.

An Introduction to Earrings .......

The ears being on either sides of the face played a very important role in the erstwhile ornaments cache of Human civilizations, so as to lend beauty and verve to the female persona. These ornaments frame the face and thus the kind of ear rings worn by a woman is vital to the enhancement of her beauty. 

 The ear as an organ has evolved in the human being over the millennia. In animals they are like antennae used to detect sound signals of danger in order to safe guard their survival. The ears of animals are able to move in the direction of the external sound to get a sharper audible sound passage piercing the inner ear which sends signals to the brain. On the scale of the evolutionary advancement of the Human, who is also an animal, as the brain developed the movement of the outer ear muscles positioning it in the direction of sound went extinct. 

 Thus the brilliant concept to use this organ as a canvas for jewellery evolved.  

In ancient civilizations ear rings were worn by both men and women. Usually men of power or prowess, like kings and warriors wore ear rings to symbolise their status.   

Ear rings were worn from Biblical times. It is repeatedly mentioned in the Bible as a piece of precious jewellery worn by the Egyptians as well as the Hebrews. On display in the Egyptian Museum in Cairo are various pieces of exquisite gold ear rings that form a part of the collectibles of the boy Pharaoh Tutankhamen. 

In ancient China, earrings developed for health purposes rather than female embellishment purposes, stemming from the result of acupuncture of the ear. The father of Western medicine, Hippocrates, wrote about ear piercing and earring wearing around 470 B.C. as a remedy and treatment for menstrual problems. Ancient people treated diseases of feminine Yin organs via earrings in the left ear and diseases of the male Yang organs via the right ear.

The excavation sites at Machu-Pichu in South America and Mohenjo-Daro in India, the cradle of ancient civilizations of these continents unearthed many specimens of ear ornaments worn by the ancient people. 

In India the earring has a special spiritual significance. One finds it mentioned in the Rig Veda. A ritual called the Karnavedha was performed on both males and females at the time of piercing the ear lobe and the ear cartilage. Karnavedha is a Vedic rite of passage to open the inner ears of the child receiving the sacred sounds of 'AUM'. This rite has a deep mystical and symbolic significance. It is believed that merely hearing sacred sounds has merit in that it cleanses sin and nurtures the spirit. 

The Vedic development of the personality of Lord Ganesha with elephant ears is a silent lesson conveyed that with these gigantic listening organs he has mastered the Vedas by absorbing them constantly. 

It was believed that nerves running from the outer ear to the inner ear connected directly with the brain and hence a constant pressure maintained by ear ornaments kept a keen hold on perception and learning. 

In India from ancient times there are various ear ornaments worn. With the passage of time many of these ancient jewellery pieces were worked and developed into modern concepts of an ancient art. Earrings are worn along the ear cartilage and the lobe.  To name some there is the Goshwara or tiny balis worn along the ear cartilage. Karanphools, Balas, Balis and Jhumka are worn on the ear lobe.

 Also worn on the ear lobe are  jhalars, danglers and chandeliers that nearly touch the shoulders 

In Kashmiri Pandit Hindu culture, a woman needs to have her inner ears pierced before she can get married, this is one of the prerequisites; so as to be able to wear the traditional Dejhor, a must for Kashmiri married women. 

A pair of earrings is an integral part of Indian Shringar or jewellery adornment of the woman. 

Jhoomar or Passa ...... A Bridal Ornament.

The Jhoomar also called the Passa is a bridal head ornament mostly worn by brides in Punjab. Actually, the Passa was a piece of jewellery adapted by North India from the jewellery repertoire brought to India by the Mughals. The Jhoomar is a gorgeous ornament which has very obvious Islamic influences and is an essential part of the jewellery of a Muslim bride.

The crescent moon was a symbol of the Turks in the pre-Islamic era. When Islam spread via the Ottoman Empire this symbol was accepted as an identity on banners and flags of the Islamic Middle East. The Crescent is considered auspicious by the Muslims. It even plays an important role in Ramzan the holy month of fasting. This Islamic fasting ends with the sighting of the crescent moon after a month of a moonless sky.

In ancient times when Islamic tribes were mostly Nomads and wandered the deserts of Arabia the Lunar Calendar played a significant role in the wanderings of the Diaspora and the religious identification of the dates of fasting and feasting.

The Crescent with its religious flavour featured in all forms of identification of these people. Jewellery played an important role in the identification of the women.

The waxing and waning of the moon is also synonymous with the emotions of a human being; which is controlled by the left side of the brain. That is why most probably the Jhoomar, with this divine symbol of the crescent, was worn essentially on the left side of the bride’s head to keep her emotions in control in her new life.

The Jhoomar is a beautiful and delicate piece of jewellery. It has encapsulated in its design the feminine delicacy or ‘nazakat’ of a Muslim bride.

It is a semicircular openwork foliate panel with a design of a crescent moon which is usually set with diamonds or with a mix of rubies emeralds and diamonds; and surmounted with a gold hook.

Fourteen or twelve rows of pure pearls interspersed with ruby or emerald beads from the bottom are attached to a crescent shaped panel below; which is inset with diamonds emeralds and rubies. Bunches of pearls are attached all along the lower edge of the crescent which dangles loosely to add charm to this exquisite piece of jewellery. The gold hook is fixed into the hair on the left side of the head and the Jhoomar hangs provocatively at the left temple of the bride’s head touching the edge of her eyebrow.

When the Jhoomar made its appearance in the Punjab with the advent of the Mughal Empire; it made its presence felt in the culture of the land the Mughals were now rulers of. Punjab absorbed this beautiful piece of jewellery as an integral part of the bridal jewellery for Hindu Punjabi girls. The Jhoomar now underwent a metamorphosis of sorts to separate its presences from the Jewellery Repertoire of the invading Islamic Masters.

It now came to be known as the Passa in Punjab. All characteristics were slightly tweaked to separate it from its Islamic origins, the first being it cast in gold which was an ancient Indian penchant. The lower crescent shaped panel was re-designed into a row of square blocks and the chains were reduced in number. The dangling bunches of pearls were replaced with delicate gold ‘pattis’ that shimmered with the movement of the head. The name was changed from Jhoomar (dangler) in Urdu, to Passa (side) in Punjabi. The ornament took on a new avatar to suit the Punjabis, but in actuality served the same purpose.

Over centuries and modernization these attitudes underwent a change. Today elaborate Jhoomars designed with the crescent moon as its main feature encrusted in diamond rubies emeralds and pearls are worn by all Indian Brides irrespective of creed cast and religion.

In the 21st century, the Jhoomar like other Indian ornaments is a fashion statement the world over. Its saucy yet distinguished look adds oomph to Western apparel. At Indian weddings it is not only worn by the Bride but also by unmarried girls to add zing to their wedding attire!

Mukut .... The Royal Headgear

A halo is an energy field semi-circling the crown of the head. Usually it is supposed to be the energy field of Gods and Goddesses. That is so because a halo is supposedly a visible glow emanated by spiritually exalted and awakened personalities.  In India the cultural artistry of an ancient people took them to depict Gods and Goddesses wearing a bejewelled gold halo in the form of a crown which was called a Mukut. The Mukut down the ages came to be worn by the Kings as they were a representation of the power of God among the people they ruled. 

The Kings and Emperors of yore wore an entire cap like conical head gear or Mukut with a half moon like frontage which ended in a pinnacle short of the top of the conical cap. The weight of the entire piece with precious metal and gems had to be such that it appeared heavy and intimidating, but actually had to be light weight so as to ensure that the Imperial Head was not uncomfortable in any which way. This solid yet intricate ornament was crafted by experienced jewellery craftsmen of the highest grade. 

Mukuts were cast in Gold, encrusted with beautiful and precious gems. The more powerful the King and the kingdom he held sway over; the more intricate and detailed would be the designs and worth of a bejewelled crown. 

The Indian Mukut or Crown is different from its Western counterpart that usually has a velvet or satin fitted cap added to this precious headgear. The Mukut was a solid Gold headgear with rubies diamonds, sapphires and emeralds bejeweling it. The top of the conical cap was usually emblazoned with a rare single diamond while the pinnacle of the half moon frontage held a smaller gem; maybe a ruby or emerald or sapphire. Both gems held a position of their own; one not overshadowing the other.  Also there were strands and rows of pearls either forming an intricate border to the Mukut or hanging in bunches on either side like showers of dew drops. 

Vassals and Rajas also wore the Mukut but only the half moon semi-circular diadem like piece.  The full Mukut was only worn by Emperors and Kings of the most Powerful Kingdoms of the land. If a vassal or Raja dared to wear the Full Mukut then it was mandatory for the King to wage war against the imposter to establish his supremacy in the region. 

The Mukut was at one time an essentially Royal Kingly ornament, but soon it transformed into the headgear for brides in certain parts of India. 

As a common man was not allowed to wear a Mukut for its Regal value forbade it; this crown found its way into the bridal essentials of women from wealthy families. The bridal Mukut is essentially just a delicate diadem feature of the elaborate Mukut.  In different parts of India the Mukut worn by brides had different features. 

In Bengal the Bridal Mukut was made of the pith of the Sala tree, but the Zamindars and the petty Rajas made Mukuts of Gold encrusted with gems for their daughters. 

The brides of Jammu and Kashmir wore a Mukut called Chaunk Phool in the centre of the head. It had three to four chains or strands of gold or pearls on either side that ended in a bejewelled flower pendant to be secured with an inbuilt hook just above the ears. The traditional Chaunk Phool was usually made in Gold or Silver but with innovation and economic progress of families it underwent precious changes. 

The Chaunk was a bowl shaped ornament in gold worked intricately with rubies and diamonds. 

Also here the masculine appearing Mukut was broken into two or three different ornamental elements adorning the head of a bride to give it a feminine touch. These elements were called by different names. Two small Chaunks were usually attached with bejewelled chains to the central Chaunk Phool and hung behind the ears. There were other ornaments called Chiri, Philigiri and Bandiyan which were an extension of the Chaunk Phool attached by gem encrusted chains to lay flat or dangle at the forehead. Many Chaunk Phools were either worn singularly or with any one of these smaller elements attached to it. 

An elaborate Chaunk Phool was one which was attached with all the smaller ornaments i.e. Chiri Bandiyan and Philigiri. 

The Chaunk Phool of Jammu and Kashmir was called the Saggi Phool in Punjab. 

All these various derivations of the Mukut or Crown also had an essential practical purpose; they had the top of the bridal veil affixed to the pinnacle of the ornament to cover the head. A North Indian Bride cannot have a head bereft of the veil or chunni even for a moment during the wedding rituals.

Glittering in gold and encrusted with precious emeralds, rubies, pearls and diamonds these bridal Head pieces were no less than a Royal Headgear! 

Jooda and Billai ....The Bridal Hair Ornaments

Beautifully bejewelled and elaborate coiffure hair-dos were an integral aspect of the traditional shringar of the Female Form of Ancient and Medieval India. The proof of this lies in the frescoes of Anjanta-Ellora caves, the sculptures of Thanjavur  and Khajuraho temples, as well as the oil paintings of Raja Ravi Verma.

The Central and Southern parts of the Indian Peninsular remained relatively untouched by the cultural influences of the marauding Islamic Invaders and hence the traditional jewellery of these parts of India maintained their original Indian uniqueness and flavour.

The hairdos of India make a statement of their own. When a woman is unmarried she sports the choti and on her wedding day the choti is decorated with different kinds of jewellery. From the Jadanagam, a piece of gem encrusted mesh like gold braid ornament snaking down the length of the choti to the Billai, a series set of nine round hair clips worn in descending order along the choti or braid. Each clip of the Billai is a unique gorgeous piece of jewellery.

                                                                                                                                                              
The round disc like hair clip is made in solid gold or encrusted with rubies and emeralds in floral or mosaic patterns. The disc is bordered off with a line of pearls to offset the jewelled crimson of the rubies and the passionate green of the emeralds. All nine clips are a mirror image of each other masterfully created in the descending order.

The Billai itself is a precious and pricey jewel of the ‘Stree Dhan’ of the Bride.

In South India and Maharashtra the bride does not cover her head with a veil or odhani so in keeping with the mandatory use of  elaborate jewellery for the wedding; a great deal of emphasis was laid on the Jooda or hair bun and its bejewelled appearance.

The Jooda or hair-bun also known as the Amboda in Maharashtra and Khopa in Bengal; was styled in different ways and had typical regional influences on the various ornaments that decorated them.

There are several kinds of authentic and unique pieces of jewellery adorning the bun and head.

The Ardh- Chandra ornament is a semi-circular piece fixed to the Jooda. The overturned crescent part of the ornament is encrusted with rubies diamonds and emeralds set in gold. At either ends of the semi-circle hang two small jewelled Jhumkas suspended by chains of gold and pearl strings. The diamond encrusted cups of the Jhumkas have dangling from within them, pearl and gold chains ending in Ruby or Emerald droplets. To compliment this jewelled Jooda on either sides of it fixed to the hair are what you call Jooda clips or Chandra-Pech. These beautiful much smaller semi-circular ornaments are intricately designed in the same genre as the Ardh-Chandra. This sparkling threesome set of ornaments resplendent on the back of the bridal head demurely covers the otherwise unveiled bride.

Traditional South-Indian temple jewellery is basically crafted in gold with rubies emeralds and pearls. But in modern times jewellery karigars add a sprinkling of diamonds and sapphires to colour co-ordinate it with the wedding attire.

In South-India the Bridal Jooda is resplendent with the Rakodi a circular ornament fixed to the centre of the hair-bun. This piece of jewellery is a representation of the cycle of life. It is intricately designed and studded with precious rubies and emeralds in replica of the Temple Jewellery genre of the region.

Along with the Rakodi are worn two broach like ornaments fixed to the left and right side of the centre parting of the head; these pieces of jewellery called the Suryam and Chandrayam, symbolise the Sun and the Moon.

These auspicious ornaments are to invoke the blessings of the Gods. The Sun is for good health, brilliance and Power and the Moon for mental well being and peace. The cycle of life is only possible when these propitious blessings are bestowed.

The Suryam and the Chandrayam are in the same design as the Rakodi; intricately worked with rubies, emeralds and pearls all designed and set in gold.

All bridal Jooda ornaments are also individually used to decorate the bun when worn for other functions.

Dressed in a Benarsi or Kanjivaram sari with a bejewelled Jooda at the nape of her neck an Indian woman is a show stopper for any occasion!

The Sarpech and Kalgi ...... A Symbol of Power and Conquest

The Sarpech also known as an aigrette is a turban ornament worn on the Indian Subcontinent by Hindu and Muslim Kings, Princes, Noblemen and Heads of Tribes. Dominantly two kinds of turban ornaments exist: Sarpech and Kalgi

The 'SAR' means 'head' and 'PECH' means screw. Together it means an ornament fixed to a turbaned head by a screw like device. The Sarpech consists of two ornamental parts. The "Jigha" or a bejewelled plume and a horizontal band or 'patti'. This plume is synonymous with the allegory "a feather in the cap" denoting elevation in status because of valour, or a courageous, charitable, noble deed; also supremacy in campaign. Hence it was usually worn by men in powerful positions. 

Before the Mughal Invasion of India the Sarpech consisted of just a horizontal bejewelled band fixed to the turban. It was used by Rajput kings and Princes as a mark of Power and Royalty. 

This Patti or band was cast in gold with a design of flowers or motifs encrusted with a few precious gems.

The Mughals brought the Jigha to India. This was the turban ornament worn by the Mughal Emperors. It was a bejewelled plume fixed to the turban of the Emperor, but as soon as the Jigha was introduced to India this piece of jewellery underwent a change and keeping with the Mughal penchant for gems and jewels, a more elaborate horizontal bejewelled band of the Rajput Patti, was incorporated with the Jigha. The entire piece was now referred to as the Sarpech.

The Jigha worn by the Mughals was a beautiful piece of jewellery. It was encrusted with emeralds rubies and diamonds and other precious gems. The Mughals appreciated all gems in their pure uncut form and used these jewels to embellish their repertoire of jewellery. 

Turban ornaments formed one of the most important symbols of power at the Mughal court. Both Kings and Queens of the Mughal Empire wore turbans fixed with the bejewelled Jigha.  The Jigha was worn exclusively by the emperor, his family and entourage. It was a symbol of royalty or royal favour and the presentation of a Jigha indicated imperial approval.

The above picture shows a Jigha set with uncut diamonds, emerald and rubies. The ornament on the reverse is set with elegant gold floral enamelled decoration on a green ground, a receptacle for a feather (Kalgi)

 In Punjab the Jigha was known as the Kalgi. Punjabi royalty sported the Kalgi atop their Sikh turbans. Maharaja Ranjeet Singh's persona was synonymous with the Kalgi. This elaborate creation evolved from the earlier Mughal practice of pinning a heron's feather or Kalgi to the front of the turban. Attaching a pearl to the end of the plume so that it curved backwards gracefully was a style introduced by the Mughal Emperor Jahangir. 

During Emperor Shah Jahan's reign the simple plume underwent a transformation into an elaborate gem-studded creation incorporating some of the treasury's finest jewels. As befits a symbol of power and prestige, the turban ornament was made of valuable materials, with gems in kundan settings. Enamelling was used to decorate the back of turban ornaments, probably from the mid-17th century onwards. A significant feature of the ornament was the plume of heron feathers placed in the small socket (parkhane) at the back of the jewel. The Sikh rulers of Punjab were renowned hunters and hence the Kalgi with the heron feathers in the parkhane was a prestigious representation of their hunting prowess.