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.