Manga Malai ..... The Mango Necklace.

The Mango first appeared as early as 25 million years ago in North-East India, Myanmar and Bangladesh from where it travelled to the southern peninsular of India.   

This unique fruit with its unforgettable sweet aromatic flavour was immediately considered to be 'manna' bestowed by the Gods on human beings.

The Ancient South- Indian kingdoms of the Chola, Pandya and Chera dynasties that today comprise modern Western Tamil Nadu and Kerala, along the western Malabar Coast  of Southern India declared the Mango to be not just the Royal fruit of the Kingdom, but as was the practice of those times and still is in South-India, religion took centre stage and the Mango found its ultimate glory at the feet of the Gods.

Every element of the mango tree as well as its fruit was considered to be sacred, hence its fruit and  leaves were used not only in worship inside Temples, but also in  Wedding Mandaps . 

The mango leaves were strung together to form a garland called a  toran; which was hung at the entrances of temples and Mandaps to ward off evil. One of the main significance of hanging a toran of mango leaves on a Wedding Mandapa is that it is supposed to be a symbol of fertility and hence a sign of auspicious blessing bestowed on the Union.

Ancient legends have it that in Hinduism, Lord Shiva (fertility) and Kama(love) are represented by the symbolic mango leaves.  

The toran also  represents goddess Mahalaxmi and prevents any negative energy or drushti dosham (evil eye) from entering the threshold of the Wedding Mandapa. 

As is the tradition of India; all things propitious are absorbed in the jewellery of the land. So was the Mango and its leaves. 

 The talented jewellery karigars of that time incorporated the toraninto an innovative masterpiece - a Dazzling piece of jewellery! 

In Southern Indian languages the mango was called 'Manga' and a garland 'Malai'

Thus was born this unique necklace called Manga Malai a garland of Mangoes. Besides adorning the sacred Murtis inside temples like Menaxshi and Tirupati, the Manga Malai an Elaborate, stunningly gorgeous necklace is also worn by South-Indian brides. 

Crafted in precious rubies emeralds and diamonds, the gems are set using the kundala-velai technique which relates to the north Indian kundan tradition of using a lac-filled sheet of gold to secure the gem. The Manga Malai is made up of forty-six mango shaped pendants set with a dazzling diamond in the middle. Each pendant is interspersed with trefoil-shaped elements surrounded by cabochon rubies. The mango-shaped pendants are held in place by the use of two flat knitted gold wire chains that pass through loops on the back of the mango pendants. These gold chains are called thattaiyana ponnulla saradu which in ancient times were woven out of gold threads. 

The Manga Malai is no ordinary piece of jewellery. It is a magnificent necklace that carries centuries of culture, heritage, and tradition in its inimitable design.

Southern India follows the Matriarchal tradition of Family progression. Matriarchy is descent and inheritance being traced through the female line.  It is all about Female Power and authority. Hence Bridal jewellery and property is passed from Grandmother to Mother to Daughter. Because this jewellery repertoire has been painstakingly designed and crafted under the scrutiny of the Matriarch for centuries; the traditional Manga Malai is one of the most artistic and beautiful pieces of jewellery in the cache of Indian Jewellery. 

With its vibrant and sparkling precious gems encrusted in pure gold; the Manga Malai is the Pièce De Résistance worn by the bejewelled bride on her wedding day!

Today in techno-savvy India this ancient necklace has been revived to be worn not only by Southern Brides at weddings, but also by Film Actresses and Chic Socialites who wish to make an everlasting fashion statement at an Exclusive Social Affair!

  

Hansli .... The Manacle Necklace.

The gypsies are a nomadic people that know no borders or countries. From their ancestry they were a people who were constantly on the move. But they originated in Northern India and hence even though centuries later they were found to be settled in larger numbers in Romania and other parts of Eastern Europe yet their language has traces of 'Punjabi' to this day; pointing to the original land of their forefathers.

Before becoming a Nomadic Diaspora these ancient people of the Punjab were slaves. And as was the cruel practice of Slavery they were kept shackled so as to prevent them from fleeing the person who owned them. Their shackles were thick pipe-like bands or manacles around their necks with long chains allowing individual movement; that went from one person to the other.

When these people, bonded by slavery, broke the manacles of cruelty by revolt and banded together as a clan they came to be known as Gypsy or Banjara.

They developed an identity of their own. They had their own dialect, laws, rules of engagement, ethics and of course a distinctive flair in clothing and especially jewellery.

It is human nature to rise from the ashes like a Phoenix and the gypsies too did just that!

They never wanted to forget their years in captivation so that History never repeats itself for their progeny, hence they developed a constant reminder of it in their jewellery repertoire. 

This reminder was the ancient thick pipe-like banded manacle forcibly worn by their ancestors. They converted this manacle into a beautiful piece of jewellery worn both by men and women and called it the Hansli. 

The Hansli was cast in silver for the Gypsies of Punjab. The men wore plain silver Hansli,but all kinds of innovated designs were etched on the precious metal to make it more attractive and decorative for the women. 

Wherever the gypsy caravans moved, people were fascinated by this prominent neck-wear seen on the persona of gypsy women.  As the women danced and sang on festive and marriage occasions for the wealthy, their jewellery, especially the Hansli shimmering boldly and strongly around their necks, while their colourful ghagras twirled around their pirouetting bodies had a mesmerising effect on the women who watched them. 

Thus the Hansli was now incorporated into the jewellery cache of the women of Punjab.

It underwent a modification of sorts. It was now cast in pure gold with added adornments like tiny Pattis, ghungroos and gold beads dangling from the edge of the solid gold manacle. 

The Hansli because of its solid form and its malleability and because of the softness of gold had no hook or tying threads at the back. Just a gap between the two ends of the ornament; that ended in a curved design. 

How was it to be worn? 

The woman just had to twist the Hansli wide open to insert her neck into it and then pull it back into shape!

After the Mughal Invasion of India the Hansli was included in the jewellery repertoire of the Invading Master by undergoing another change. It was now cast in precious gems like crimson rubies, sparkling diamonds, dazzling emeralds and royal turquoise all embedded in a manacle of gold which was now, because of the weight of the gems, not malleable. Hence the shape remained the same with a slight tweak to design. The gap at the back was widened to allow the neck to enter and from the two ends of the Hansli hung long gold and pearl strings to tie the ornament securely. 

The Hansli of Indian Heritage, in the Modern World, has  travelled the world to find itself displayed on Divas of the ramps of Haute Couture Presentations in Paris New York and Milan!

Chintak and Tirmani ..... A Hindu and Mughal Amalgamation

The seat of Power of the Mughal Sultanate of India was in the North. The Emperors held sway over the entire country from the royal citadels of Lahore and Delhi. 

The Sultanate deployed its Mughal governors and viceroys to rule and control different pockets in central and south India under the aegis of the Mughal Empire. 

To rule the state of Hyderabad in the Deccan a viceroy appointed by the Empire was deployed. Later after Aurangzeb's death  the viceroy declared himself to be independent of Mughall rule and established himself as the Nizam of Hyderabad founder of the illustrious Dynasty of the Asaf Jahs. 

Hyderabad was famous for the Golconda diamond mines and the Ruling family acquired unimaginable wealth in their treasury due to their control over these legendary mines.. The choicest diamonds, blood red rubies, columbian emeralds, Iranian turquoise and deep blue sapphires formed the the bulk of the jewellery repertoire of the Nizam's Collection. 

When the Mughal viceroy took control of Hyderabad his Begum brought with her from the Mughal Empire of the North a repertoire of Mughal jewellery and luxurious royal attire. 

Empress Noor Jahan had commissioned special Persian and Turkish designers and tailors to create unique noble attires for the Royal bibis of the Mughal Empire and the Begum of Hyderabad brought a few of these craftsmen with her when she shifted base to the Deccan. 

Now being a Begum of a principality far away from Delhi and Lahore made her no less than an Empress! 

She ordered the Nobel Attires to be modified by the craftsmen to bear an exclusive style that became unique to the State of Hyderabad. Thus was born the beautiful sparkling Khara Dupatta; six yards of gota ,zardozi and semi-precious stone embroidered gossamer cloth to be draped modestly yet majestically on the body of the Hyderabadi Begum and her Royal ladies.

To compliment this Royal Clothing, jewellery distinctive to Hyderabad was also essential, so consequently the Mughal Guluband was personalized into the Chintak. 

The Nizam Shahi Chintak like the Guluband is a collared necklace but without the Mughal bejewelled bib beneath. 

The Chintak is a-typical to the state of Hyderabad. It was created in Emeralds, Rubies, Sapphires, Turquoise, and Uncut-diamonds. The essential element in this Guluband is the use of Pearls both big and small.  

The collar is crafted in a maze of floral or geometrical designed gold base with precious gems studded within. To finish the Chintak it has a string of small pearls fixed atop the collar and dangling from the bottom edge are big pearl drops. 

The Aristocrat Chintak replaces the pearl drops with huge ruby or emerald drops. Interspersed in the design are uncut diamonds to lend this unique neck-wear a dazzling look par-excellence

Along with the Chintak in Hyderabadi Bridal jewellery is worn the Tirmani. 

Tirmani means a necklace of three(tir) gems(mani).  It is basically made from three different gemstones and is an  exclusive necklace studded with ruby, emerald and uncut diamond teamed with pearls to give it a royal finish. This beautiful Aristocratic Nizam ornament is a modification of the Hindu Mangalsutra. The Hindu influence of its subjects, on the Muslim Masters of Hyderabad; lies in this piece of jewellery.

Like the mangalsutra the Tirmani is a necklace of two or more strings on either sides of a central pendant which rests on the chest of the bride. When worn along with the spectacular Chintak; this twosome is breath-takingly awesome!

As is always; through the ages the Chintak and Tirmani came into the domain of the commoners. 

It was now designed in more affordable gold carat, gems and semi-precious stones with pearls that are less dear in value known as Hyderabadi Pearls. 

Even today in the Jewellery Markets of Hyderabad there isn't a shop that does not  proudly display their heritage of the Chintak and the Tirmani. 

These two ornaments are worn along with Kan phool or chandbalas in the ears. The Hyderabadi Muslim Bride is a show stopper, dazzling and sparkling in her traditional ensemble of Unique Khara dupatta, Chintak and Tirmani which is exclusive to her State in India!

The Necklace...... Pièce De Résistance of all ornaments.

The word necklace if broken into two; bespeaks a very Western concept....Neck and Lace. It adds up to a pretty adornment worn at the neck of a woman. 

An ornament like any other that is included in the cache of all other pieces of jewellery that is a part of the embellishment of a woman's personality. 

But when you say Necklace in terms of India it opens up a Pandora's Box of IMAGERY! Floating before your mind's eye will be eons of History, Tradition, Culture and Heritage of a diverse yet unified people interlocked by thousands and thousands of years of belonging to one Land....Hindustan. 

In India unlike any other place on this earth the Necklace is not known by just one name. Different ethnic groups called it by varied names depending on the prevailing conditions and influences of their tribal or clannish prerogatives.

With the foreign invasions of India many more dimensions were added to this ornament which undoubtedly was the pièce de résistance of the repertoire of Indian Jewellery.

Despite several Indian dialects, an elaborate Necklace, was collectively known as a Haar; that was designed for the Indian bride; to decorate her and to safeguard her modesty.

Besides, the Haar which also had various permutations and combinations till it reached its final majestically ornate presentation; was also made in smaller more austere designs so as to be suitably worn by women who were not brides, but needed to rise to various occasions.

There were massive Haars that looked like bibs, while some began at the throat like a collar and ended at the navel. Some were pliable while others were solid bands or manacle- like. Some were strings and strings cascading from a solid piece at the neck and ending between the cleavage while others were long flat ornate belts on either sides ending in a huge fan-like pendant or a round disc. 

Besides these humongous Haars there were dainty necklaces worn on a daily basis. These further gave way to the concept of smaller collars, semi circular pieces as well  as flat chains which were a compromise between a chain and a long Haar. 

An Indian woman is incomplete with out her jewellery bearing signs of being married. The Haar was further designed into symbols of holy matrimony.

These specialized ornamental necklaces were only allowed to be resplendent on the persona of a woman who was secure in wedlock. 

Necklaces were also a favourite gift to the Gods in the temples. Some of the most exquisite Haars can be found in illustrious temples around India resplendent in all their dazzling glory; sparkling with precious priceless gems studded in gold around the auspicious necks of powerful Gods.  

An Indian woman however emancipated, loses her basic identity without a traditional Necklace worn by her on special occasions, which bears witness to the tribe, clan or community her forefathers belonged to. 

This traditional  identification is her very bloodline.  

Makara Kundanalu .... The Krishna Earrings.

Indian Jewellery is an intrinsic expression not only of adornment but also carries thousands of years of an ancient  culture and religion embedded in its unique designs.

One such ornament are the earrings called the Makara Kundanalu.

Makara Kundanalu are Earrings worn by Lord Krishna mentioned in the ancient text  Govinda Lilamrata.  

This ancient text eulogising the life of Krishna spotlights the various ornaments that Krishna wears. Each ornament has a philosophical connotation imparting a hidden sermon to the devotee. 

Makara ... in Sanskrit translates into a monstrous fish or giant crocodile that poses extinction to mankind when confronted and not overcome. 

Kundanalu ... in Sanskrit means 'Earrings'

And why does Krishna who was the King of the Yadava Clan, yet considered God in Hinduism wear ornamental earrings depicting this deadly sea monster?

It is to bring to attention, that when one vanquishes physically and meditatively the deadliest of fears and consequently tames them; only then can a human being be elevated to the status of God-hood.

Legend has it that the Makara Kundanalu framing Krishna's face on either side dazzled Radha his consort. The Godlike brilliance emanating from the precious jewels embedded within these earrings naturally attracted her towards the Lord.

These ear ornaments are like Cupids ropes that bind Radhika's eyes with Sri Krishna's sweetness holding her soul in an enchanted devotional grip with the Lord forever!

The philosophical subtleties of the scriptures inspired generations of jewellery karigars of Ancient India to include the auspicious Makara Kundanalu in the jewellery repertoire of the Indian Woman. 

From Orissa to Bengal and all the way to the South of India in Kerala, the Makara Kundanalu has been a captivating piece of bridal jewellery for Indian Brides.

 In many of the states of India it maybe known by local ethnic names but the source of this piece of ear ornament is from the Indian Scriptures interpreted differently in colloquial  languages familiar to the region through the length and breadth of the country. 

These auspicious earrings have seen many changes down the ages to suit jewellery styles and trends of the given times. But the basic structure and design is as specified in the ancient texts.

The Makara or aquatic fish lays tail upwards along the outer edge of the ear cartilage ending with its head resting on the earlobe. The ornament is crafted in pure gold with the choicest of blood red rubies, sparkling diamonds and dazzling emeralds encrusted in the body of the fish. On two or three points along the ornament three tiny gold ghunguroos are fixed along the body of the fish to add daintiness to the ornament.  

It can be crafted in any uniform precious gem of choice; or in an assorted mix of precious stones. 

 There have been modifications to the design and style of the earrings down the ages. Sometimes a Jhumki with rows of tiny pearls fixed to the cup is added under the head of the fish which dangles below the earlobe.  

Styling it further to give it a chic yet traditional look, the entire earring is sometimes created as a dangler with the fish suspended below the earlobe either from a gold hook or a gold stud.

However trendy and modern an Indian girl maybe but for that special day in her life... her Wedding... she will revert to her traditional roots in her bridal attire and jewellery because she knows that it is not just  pieces of beautiful threads and baubles she will be wearing to make her look gorgeous; but she will be carrying the blessings of her Heritage and Culture as she steps into an auspicious new phase of her life. 

When wearing the Makara Kundanalu the shy bride secretly yearns for her groom to love her like Krishna did Radha!

Mayur Kaan ..... The Peacock Earrings.

Indian Jewellery has the most versatile and unique cache of ornaments compared to anywhere else in the world. 

One of the most favourite icon's of Indian jewellery is the national bird of the country... The Peacock. 

Since the Mughal Era the peacock has been used as a central image in jewellery all over India. The Mughals were particularly fascinated with this large majestic bird. It was an icon used by Mogul Art in every sphere of art and architecture, be it arches, domes, thrones, paintings, mosaics embroidery, furniture, and jewellery. 

The famous Golden Peacock Throne the pride of the Mughal Empire in India was built by Emperor Shah Jahan bearing witness to the Mughal obsession for this Majestic bird.

The jewellery Karigars of that time excelled in Meenakari a skill of using different colours beaten into gold which added a kaleidoscope of different shades to the ornament. 

This expertise of Meenakari was especially useful when designing jewellery with the Peacock emblem.  

The male Peacock is a magnificent bird with an elaborate plumage. There are around 200 elongated bronze green-blue  feathers with an 'eye' in each one of them. It has a metallic green  and a glistening sapphire/turquoise blue long slender neck. The magnificent tail is either a long train of spectacular colours or when expanded in dance, it is a conspicuous display of fan-like radiance of turquoise blue and emerald green. 

All these characteristics were a designer's delight for the jewellery Karigars of the time. 

The peacock jewellery was either worked in the resplendent colours of metallic bronze, deep green and turquoise blue Meenakari shimmering in gold, or they were encrusted in dazzling emeralds, breathtaking turquoise and deep blue sapphires with a blood red ruby for the eyes of the majestic bird. 

Unlike jewellery from around the world Indian jewellery has a separate repertoire of Bridal jewellery which is further slotted according to the different states of India.

Besides the Mughal Jewellery the Peacock has also always been firmly ensconced in the jewellery of Rajasthan, Bengal, and Southern India.

  
The Mayur Kaan is typical to the Bridal Ornaments of Bengal and Rajasthan.

 

In Bengali wedding jewellery which is worked only in solid gold, the majestic plume or Pankh of the Peacock has traditionally been used as display along the helix and the body of the Peacock at the lobe of the ear. 

In Rajasthani jewellery the Peacock is traditionally worked in the precious colourful gems which are a penchant with the dessert kingdoms. The Peacock Earrings in this region are resplendent in uncut diamonds, deep blue sapphires, dazzling emeralds, and blood red rubies; all these precious gems are used to emblazon the spectacular plumage or Pankh of the Peacock either in a fan like downward display or a sparkling array along the helix.

The elegance and serene stature of this beautiful royal bird of India, is reflected in the bridal Mayur Kaan which is a unique piece of ornament exclusive to India

In the twenty-first centuries the conventional Mayur Kaan still finds itself to be the cynosure of attention,of spectacular bridal jewellery in many states of India.  

The Aatheru .....An Ornament of a Married Kashmiri Woman.

The Aatheru is as ancient as the Pandit Culture of the Valley of Kashmir.

This ear ornament is a vital presentation to a Kashmiri Pandit girl, in parts, by both parents and in-laws at the time of her nuptials. These earrings are ceremoniously given to the bride for a happily married union. Sometimes it is equated to the ‘mangalsutra, an ensigna of a married status, but unlike the mangalsutra which is removed when widowed the Aatheru is worn by most Kashmiris till their death because it is also the woman’s financial security in case of trying times.

This ceremoniously elaborate ear ornament is made of three ornamental elements. The Dejhoor, the Athoor and Atah.

The wedding ceremony is called the Lagan and one day before the Lagan, the Devgoan ceremony which is meant to invite the Gods to bless the bride is performed in the bridal home. During this ceremony the bride is given the Dejhoor for her ears by her mother.

The Kashmiri Pandits are Shavites and the Dejhoor is a Sri Yantra or auspicious talisman. Dejhoor, cast in gold, is always hexagonal (Shatkon) shaped with a dot (Chunne) in the center representing Shiv and Shakti. this yantra or Dejhoor, is dangled from piercings in the upper ear cartilage, always the left ear first (Shiv) and then the right (Shakti), and initially, on the day of Devgoan, only using  red threads called nairwan.

The next day, which is the wedding day the  Lagan ceremony is performed and the in- laws after taking the new bride to their home, perform another ceremony where they remove the red threads supporting the Dejhoor and replace it with Atah. The Atah are either gold chains or gold and silver silken threads called(Sulma/Tilla) replacing the red nairwan threads.  

The in-laws also add Athoor which is either  a small piece of golden ornament attached - to the lower end of the Dejhoor or a bunch of the Atah gold chains or silken threads tied in a bunch to the bottom of the Dejhoor; thus completing the yantra in a very symbolic way.

The next day, as part of another ritual, when the bride along with her husband visits her mother's place, she now sports a compete set of Dejhoor, Atah and Athoor which is collectively known as the Aatheru.

At the end of the gold chains are the two other elements of the earrings the Dejhoor and Athoor.
Earlier the Dejhoor and projecting Athoor was kept by the Pandit women inside their garment touching the skin yet there was no danger of any kind of infection as gold being a precious metal.
As time went by the Aatheru underwent changes. This elaborate gold earring was modified to suit contemporary sensibilities. Precious gems and seed pearls were add to make the Aatheru more glamorous and attractive. The gold chains of the Atah now had seed pearls in intervals and in some designs there were only chains of pearls strung in gold wire. The gold dot or Chunne many a times was replaced by a solitaire diamond instead of the traditional gold dot in the centre of the Shatkon.

The hexagonal Dejhoor was now crafted either in meenakari, or the gold yantra was embedded in precious gems like sapphires, emeralds and pheroza, making it more expensive and colourful. The attached Athoor too saw changes either as a meenakari or bejewelled pendant or dangling as a tight bunch of clusters of pearl strings.
To suit the modern Kashmiri Pandit woman the Atah chains were reduced in size so that the Dejhoor and attached Athoor just about touched her shoulders.

Today the Aatheru is an earring worn by many Indian women whether they by Kashmiri or not, as a preference for a beautiful piece of jewellery.
Worn with a chic chiffon sari, a western hair-cut, the bejewelled Aatheru dangling from the ears of an Indian woman  makes a unique fashion statement found nowhere else in the World!