ANIKALAN JEWELED ELEGANCE: A TIMELESS TALE OF WOMENHOOD IN TAMIL NADU
-Sibiraj Murugesan
PREFACE In the pursuit of preserving the vanishing jewellery traditions of Tamil Nadu, this book has been crafted with utmost dedication and passion. The genesis of this endeavor emerged when the stark reality struck me —my junior cousins were oblivious to these rich cultural facets. A disconcerting realization that fueled my commitment to creating awareness. It is imperative to clarify that I am not a historian; however, my ardent efforts to compile information and visuals have been exhaustive. All content and images utilized herein are done so with a commitment to fair use and education. Profit has never been the motive; rather, the sincere intention is to foster understanding and appreciation. This literary endeavor represents my personal reflections and insights. To the best of my knowledge, I attest that no plagiarism taints these pages. The authenticity and integrity of the information are paramount, and I hope that readers perceive this sincerity.
DEDICATION To my family and friends—my unwavering pillars of support. Your motivation fueled my journey, and your unwavering belief and confidence emboldened me when I pitched this ambitious idea. This book is as much yours as it is mine, and I extend my heartfelt gratitude for being the driving force behind this literary exploration.
MAMALLAPURAM SHORE TEMPLE
Tamil Nadu, home to 38,000 culturally rich temples, proudly showcases an extraordinary collection as guardians of its ancient legacy. The Tamil language, a vibrant classical embodiment enduring for millennia, influences literature, lifestyle, and embodies the philosophy of "pirappukum and ella uirkum" — where equality is inherent at birth. Integral to Tamil life is the profound concept of Tamil Panpadu, encapsulated in Agam and Porul principles, shaping ethical, aesthetic, and social dimensions in contemporary society. This enduring legacy weaves a narrative echoing with history, where dance, veena, tabla, and nadaswaram music seamlessly intertwine. Amid rich traditions, Tamilians passionately celebrate life. In Tamil Nadu's historical continuum, the air transforms into an aromatic symphony with fragrances of jasmine and flame lily. The experience is complemented by exquisite flavors of pongal, sambar, and ethereal idlies, fostering an atmosphere that evokes heartfelt smiles. Life's celebration extends to captivating folk expressions like koothu — kummi, theatre, paavai koothu, folk karakaatam — alongside classical art forms such as Bharatanatyam. The ancient practice of bull-taming, or jallikattu, unfolds during Pongal, a harvest festival with roots dating back 4000 years. Amid vibrant expressions of arts, crafts, and culinary excellence, Tamilians embrace beliefs, actively shaping today's culture and proudly manifesting them in distinctive jewelry. Through the rise and fall of kingdoms, the people of Tamil Nadu retain warmth and 'kalacharam' (culture). This enduring spirit finds expression through mastery of temple craft, intricate silk weaves, and distinctive jewelry, completing the narrative of a resilient cultural identity.
Lifelong Tale: Tamil Women and Their Jewellry Embarking on a poignant journey that spans a Tamil woman's entire life, the significance of jewelry transcends mere adornment; it becomes a tangible expression of life's phases, emotional bonds, and societal roles. From the tender age of one, during the Pedhai phase (1-8), she receives her first Thodu, kolusu, and araijan kodi, "Every piece gracefully amassing, akin to the gentle accumulation of dewdrops on early morning jasmine gifted by parents, the cherished Thaaimaama (Maternal Uncle), relatives, husband, in-laws, and children on cascading occasions. The transition into adolescence, marked by the Mangai phase (11-14) and Madandhai phases(14-18), brings bodily changes, and the Thaaimaama bestows gold and symbolic gifts, known as seer. As she steps into marital life during the Arivai phase (19-24), parents endow her with a dowry, then she acquires auspicious ornaments of her life the Thaali/mangalyam and metti, representing marital bliss. The subsequent Therivai phase (25-29), she tenderly nurtures her toddler children, commencing with gifts from the joyous celebration of a baby shower and conscientiously assembling a collection for future generations. The onset of the Perilam Pen phase at 30 symbolizes not only conjugal assurance but also selflessness towards her family, as her devoted husband contributes to her cherished collection. Confidence, and the sheer joy derived from showcasing these treasures have remained constants for women. In the realm of assets, it is gold and jewels alone that have offered a profound sense of ownership and fulfillment for women.
In Tamilakam, a region known for its temples, craftsmanship, and vibrant culture, the traditional jewelry designs showcase the depth and grandeur of the land. These designs often incorporate elements like leaves, mangoes, jasmine buds, parrots, peacocks, conch shells, swans, temple deities, star motifs, circles, ovals, and symmetric patterns. While the mentioned designs are more common, it's essential to note the various other jewelry styles in Tamil Nadu, each reflecting the diversity and artistic richness of the region. Traditional jewelry is categorized into Temple, Nakashi, and Chettinad Jewelry, with each category representing a unique facet of the cultural and craft legacy. Beyond their aesthetic appeal, these jewelry pieces hold cultural significance, distinct from ancient ritualistic and religious adornments. The classification based on where it is worn further emphasizes the significance and diversity of Tamil Nadu's traditional adornments.
GENTOO DANCING GIRLS FROM MADRAS, DISPLAYING JEWELLERY," A PHOTO BY NICHOLAS AND CURTHS, 1870
In the heartland of Tamil Nadu, where culture and tradition intertwine seamlessly with everyday life, the art of adorning oneself with gold and silver jewellery is a time-honored tradition that spans centuries. Tamil Thaai (The Mother Tamil) is praised by ornamenting her with The Five Great Epics of Tamil Literature. This glittering legacy is not merely about ornamentation but represents a cultural tapestry woven with intricate designs, profound symbolism, and an unwavering connection to the rich history of the region. The history of gold and silver jewellery in Tamil Nadu can be traced back to the ancient period, with references found in Sangam literature, inscriptions, and archaeological discoveries. The Sangam era (300 BCE - 300 CE) provides glimpses of the adornments worn by the people of that time, reflecting the significance of jewelry in their lives. In the Chera period, Sangam literature reveals ceremonial use of gold necklaces, earrings, and bangles, offering insights into aristocratic adornments. The Pandya dynasty, contemporary with the Chera and Chola dynasties, demonstrated a penchant for ornate jewelry, evident in archaeological findings from regions like Madurai.
A Dazzling Prelude to Tamil Nadu's Jeweled Saga
Common elements across dynasties include the prominence of gold, gemstones, and intricate craftsmanship. The Chola dynasty's golden age (9th to 13th centuries) witnessed unparalleled achievements in jewelry craftsmanship, reflected in bronze statues and temple sculptures that became integral to the royal court and society. Archaeological sites such as Adichanallur, Korkai, and Keezhadi, along with temple sculptures, provide valuable insights into the historical journey of gold and silver jewelry, revealing its cultural, ritualistic, and multifaceted significance. The Tanjore Palace, though not a direct archaeological site, visually captures jewelry styles during the Nayaka and Maratha periods. These discoveries contribute to our understanding of Tamil Nadu's rich cultural and artistic heritage, derived from a combination of archaeological findings, literary references, and broader cultural contexts. Though not as abundant, these discoveries enrich our understanding of the cultural and artistic heritage of gold and silver jewelry in Tamil Nadu.
ANTIQUE CHOLA-ERA BRONZE SCULPTURE OF GODDESS PARVATI.
TEMPLE JEWELLERY
FULL BHARATANATYAM TEMPLE JEWELRY ENSEMBLE
Nagercoil, a prominent trade center for spices and rice for centuries, reflects a cultural tapestry with architectural influences from the Cholas, Pandyas, and Cheras. The town has been a significant part of the erstwhile Travancore kingdom for over 700 years, and its architecture bears elements favored by these ancient dynasties. During the reign of the Cholas in the 9th century, temple jewellery began taking a definitive shape. Inspired by grand temple structures, the Chola kings initiated the crafting of ornaments to adorn the deities seated in the temples. The designs during this period featured opulent large patterns, visible in temples at Srirangam in Trichy and Suchindram. This marked the emergence of what we now recognize as temple jewellery.
KARTHIGAI VADALI, NAGERKOIL
Later on, kings and chieftains of the Ramanathapuram district purchased a set of gold ornaments studded with diamonds for an offering in a temple in Chettinad. The exquisite designs during those times laid the foundation for the tradition of temple jewellery. Over the centuries, this jewellery evolved from being exclusively for deities to becoming a cherished art form adorned by Bharatanatyam dancers and those with an appreciation for pieces reminiscent of the glorious Sangam period. As centuries passed, royalty commissioned artisans for personal use, gifting these jewels to Devadasis who danced in royal courts. Devadasis, also known as temple dancers, popularized the jewelry, referring to it as "Arakku" jewelry. This type, made of gold with ruby, emerald, and pearls, later evolved with the introduction of "Kemp Jewelry" in the 12th century. Using glass colored naturally and set with molten arakku, this technique made the jewelry more affordable. Traditionally gold, the base transitioned to silver coated with molten gold leaves. Vadasery, a tiny village on the outskirts of Nagercoil, has become renowned for its handmade temple jewellery. The village boasts over 200 jewellery units, employing more than 700 skilled artisans. The intricate process involves the use of silver, gold leaf, wax, and synthetic stones, all carefully sourced from Chennai and Tiruchengode. The meticulous craftsmanship begins with the design, drawn on paper, which is then translated into silver sheets. These sheets are intricately shaped and adorned with silver tape, creating the base for the jewellery. Beeswax, mixed with a locally available stone called kittakal, is heated and poured into cavities, forming the foundation for stone settings. The entire piece is electroplated in gold, providing a glittering finish. The stones are then carefully set in these cavities, showcasing the artistry and precision of the skilled artisans. This labor-intensive process, though tedious, results in pieces of exquisite beauty. In contemporary designs, gold and silver are often paired with synthetic stones, maintaining the tradition's essence. The preference for dark reddish maroon or dark green stones, known as kuchu kal, adds a touch of authenticity to the recreations of original pieces. Temple jewellery, whether made with synthetic or precious stones, encompasses a wide variety of designs, including coronets and ornaments crafted for special offerings in temples. The popularity of these pieces endures, with some being heavy, embedded with stones in gold foil, and others being lighter, featuring more emphasis on silver and gold work. Designs like Makara, naga, yali, swan, parrot, and mango, adorned with red, blue, green, and white stones, remain among the most sought after. In 2018, the temple jewellery of Nagercoil received the prestigious Geographical Indication Tag (GI), recognizing its timeless elegance and exemplary craftsmanship. This heritage, deeply rooted in the vibrant history of Nagercoil, continues to captivate admirers and embody a rich legacy that extends beyond time.
TRADITIONAL TEMPLE JEWELLERY PENDANT MODELS
CHETTINAD JEWELLERY
CONTEMPORARY CHETTINAD PATTERN NECKLACE
KAZHUTHEERU WEDDING NECKLACE FROM CHETTINAD
Chettinad jewellery, originating from the prosperous Chettinad region in Tamil Nadu, embodies a rich cultural heritage and opulence distinctive to the area. Characterised by the lavish gems used. The bridal jewellery designs of a Chettiar bride are classy and majestic, often incorporating Burmese rubies, now present-day Myanmar, in a style commonly known as Kemp jewellery. The cabochon rubies are meticulously inlaid on heavy gold settings, creating a luxurious and timeless appeal. Pieces such as the Vanki armlet, Kasu Mala coin necklace, Jhimki earrings, and Oddiyanam waistbelt are integral parts of the Chettinad bridal ensemble, each design passed down from mothers to daughters as precious and irreplaceable heirlooms. The cultural significance of Chettinad jewellery extends beyond adornment, symbolising tradition and prosperity. It is worn during weddings and festivals. Despite its traditional roots, Chettinad jewellery has adapted to modern tastes through contemporary designs.
NAKASHI JEWELLERY The temples of Tamilnadu are famous not only for their divinity but also for their architecture. Nakshi or Nakashi jewelry adopted its style from temple architecture of Tamilnadu, giving it the name modern temple jewellery. Though it is not the original temple jewellery, the nakshi work also has its ages of glory to tell. The intricate engravings in Nakshi jewelry find inspiration in the architectural marvels of Tamilnadu's temples, capturing the essence of the region's rich cultural heritage.
A BRIDE WEARING CONTEMPRORY NASKHI JEWELLERY SET
NakAshi jewelry, embodies meticulous craftsmanship with intricate engraving on gold or silver surfaces. This traditional art form, known for its detailed work, draws inspiration from nature and mythology, incorporating floral motifs, animals, and mythological figures. Nakashi pieces, including elaborate necklaces, earrings, bangles, and bracelets, showcase the artisan's skill in creating textured, three-dimensional designs. Gold is the preferred metal, reflecting cultural significance and value. Beyond its aesthetic appeal, Nakashi jewelry holds cultural importance, often worn during weddings and festivals, and passed down as cherished heirlooms. Contemporary designers blend modern elements into traditional designs, ensuring Nakshi jewelry remains timeless and relevant. Careful maintenance is advised due to its intricate nature. Just as temple architecture is celebrated for its divine aura and intricate detailing, Nakshi jewelry mirrors these qualities, creating a seamless connection between the sacred and the ornamental. This fusion of traditional craftsmanship and architectural influence gives Nakshi jewelry a unique identity, telling a tale of artistry that transcends time and tradition.
JEWELLERY FOR HEAD AND HAIR
PAIR OF ANTIQUE JADA NAGAM / SADAI NAGAM , WITH STONE WORK AND GOLD WORK
Ornaments for head and hair are collectively referred to as "Thalai Saaman," hair and head jewels play a significant role. Although these accessories are prominently featured in classical dances, only specific ornaments transition into everyday life and weddings. This distinction arises from the diverse customs observed within different communities. Surya Pirai & Chandra Pirai: These accessories are favored as popular costume jewelry, showcasing depictions of the sun and moon, symbolizing the inherent duality of nature, and is used by brides of certain communities. Nethi Chutti: This forehead band, adorned with red and white stones and complemented by pearl hangings, stands as a quintessential accessory for weddings and classical dance performances like Bharatanatyam, Kuchipudi, and Mohiniyattam. Rakkodi: A circular hair accessory adorned with kemp and white stones, designed to secure a hair bun. Thirugu poo : Translates to "screw flower." It is a hair accessory akin to the rakkodi, serving the purpose of securing a hair bun. However, its distinctive feature lies in its functioning through a screwing mechanism. Nethi Pattai: Ritualistic forehead jewelry made up of thin gold sheet fastened by threads soaked in turmeric, donned during specific community wedding ceremonies. Tied by Paternal aunts and Maternal uncles on the forehead , it serves as a significant send-away gift. Jadanagam: Meaning 'hair snake,' this snake-like adornment is clipped onto the braided hair of a Tamil bride, often accompanied by kunjalam at the braid's tail.
RAKKODI
BRIDE WEARING NETHI PATTAI ON HER FOREHEAD
NAGAR THIRUGU POO NETHI CHUTTI WITH SURYA AND CHANDRA PIRAI
KUNJAM
TRISHA KRISHNAN, THE ACTRESS, DONNING A 'NETHI CHUTTI' IN THE MOVIE PONNIYIN SELVAN
JEWELLERY FOR EARS
KAADHU KUTHAL ( EAR PIERCING CEREMONY) OF TAMIL INFANT
Ear piercing in Tamil culture, known as Kaadhu Kuthudhal, is a time-honored tradition deeply rooted in the ancient heritage of the Tamil people. This elaborate ceremony is conducted for both boys and girls, taking place at the Kuladeivam (Clan God) Temple. Concurrently, the Mottai (Tonsuring Ceremony) is performed, during which the child's hair is ceremoniously offered to the deity. The ear-piercing ritual is a momentous occasion, with the Thaaimaama (Maternal Uncle) holding the child on his lap and bestowing gifts. Beyond its cultural significance, there are intriguing health perspectives associated with ear piercing in Tamil culture. Studies propose that piercing the inside corner of the ear may provide relief for chronic pain, including issues related to the spine and lower back. Some individuals have reported experiencing alleviation of indigestion through this practice. According to insights from a yoga expert, the human ear lobes harbor a special point that connects the left and right sides of the brain. Piercing this point is believed to activate specific areas of the brain, thereby enhancing overall brain function.
FAN MODEL (VISIRI ) THODU
STONE JIMIKKI
YOUNG GIRL WEARING DIFFERENT MAATALU STYLES IN THE SAME OUTFIT
MAKARA KUNDALAM
Jimikki stands out as a remarkable gift from the Tamil community to world . With origins tracing back to ancient temple statues from the Chola dynasty (dating as far back as 300s BCE), these earrings are renowned for their elegance. The Jimikki earrings sway gracefully, creating a captivating impact. Originating in South India, they gained nationwide acceptance, especially among royal families, each adapting the bell shape to create their style. The rich tapestry of Tamil culture is reflected in the myriad varieties of earrings, collectively known as Thodu, each with its distinctive charm serving as identity of a married woman . This includes Olai (large ear studs),Kadukkan (single stone), Kammal (lotus-shaped with rubies or diamonds), Lolaakku (eardrops of any design), Makara Kuzhai (fish-shaped ear ornament), Kadippu, Karnam, Saarpaipoo, Mudichi, and Picharkal, contributing to the rich and vibrant tradition of ear adornments in Tamil culture. Maattal is ear chain made of gold or pearls, and Suthu Maatal, a traditional preference hooked to the earring and attached back to the ear, favored by elder women. Alternatively, it can be attached to the hair above the ear, a trend embraced by the new generation.
KADUKKAN
Art of Earlobe Stretching KOPPU MURUKKU KUCHI PULLAKKU / LOLAKKU EDUTHATTU / KURUTHATTU
ONAPPATHATTU
THANDATTI / PAAMBADAM / NAGAVADAM
DIFFERENT MODELS OF THANDATTI EARRINGS
A comprehensive study has uncovered more than 32 distinct varieties of earrings, each imbued with its unique significance these include Maragathakuzhai, Kambi, thaazhakootukambi, Kundalam, Kudhambai, NeelaKudhambai. In the southern districts of Tamil Nadu, the Thandatti/ Paambadam/ Nagavadam earrings, resembling snakes, have stood as a cultural emblem for Pandya women since the Sangam age. These substantial gold earrings, famed for their abstract yantra like geometric designs, transcend being mere accessories; they embody symbols of womanhood and tradition. Historical records reveal that women faced social scrutiny and fines if they chose not to don these earrings, which were worn alongside Poodi and Koppu, including Onappathattu. It's intriguing to observe how these give the impression of helix-pierced earrings, appearing remarkably modern. In Tamil, "Paambadam" translates to the hood of a snake. The Thandatti earrings, characterized by Gold earring of sheet-metal geometric forms filled with a lac composition to prevent denting , of interlocking squares and rectangles, are not only a visual delight but also a testament to the region's craftsmanship. These gold earrings weigh around 50 grams each, substantial enough to dangle and touch the shoulders of the women who wear them, imparting a distinctive and regal appearance. The meticulous process of Koppu Kaadu Kuthuvadu (The Art of Earlobe Piercing / Stretching) is a detailed and laborious procedure that spans several years. Implemented with a few dietary restrictions during the earlier stages, the procedure is considered relatively painless as it commences during infancy when earlobes are not fully developed, minimizing discomfort for babies. An expert pierces the ear of a girl child with a triangular blade, typically within the third day of birth, capitalizing on the ease of stretching an undeveloped earlobe. Stretching is achieved by inserting corn cob shoots/ cotton wool /young palm leaf stalks/ accompanied by the use of oil as a lubricant, and is changed daily, with gradual increments in size reaching the dimensions of a coin. Individuals undergo training with added weights, and gold rings are methodically added for weight training. By the time the child reaches one year old, the ring’s weight has established the stretching process. A lead ring is inserted in the hole, and gradually, more rings are added until there are as many as 8 in each hole. As multiple rings are worn together, they are referred to as Chavudi. At this time, the several rings are combined into one of equivalent weight, which is retained until the girl reaches about thirteen. Upon completing this prolonged training, by then, the lobes have become stretched to their utmost, almost reaching the shoulders. The earlobes are then prepared for the next stage when the gold rings are replaced with Thandatti earrings. This marks the culmination of the process, often done in anticipation of the wearer's wedding day. Despite its rich history and cultural significance, this age-old tradition is on the brink of extinction. The documentary "https://youtu.be/oQIFEhSN2G4?si=w0IUiGfKm3rr6xLJ" provides firsthand insights from octogenarians in rural Tamil Nadu, shedding light on the fading practice. As modernity sweeps through the region, the tradition loses its appeal among younger women, as highlighted in "https://www.thehindu.com/news/national/telangana/earrings-not-the-preferred-choice-of-young-womenanymore/article7882905.ece."
JEWELLERY FOR NOSE
BESARI MOOKUTHI
Mookuthi, or Mukkuthi, signifies the nose stead.Mookuthi can be worn on both sides(Rettai Mookuthi) or a single side, based on personal preference. Nose piercing is a practice that can be embraced at any age, unlike ear piercing. However, there is a Tamil cultural expectation that all married women shall adorn nose piercings According to some studies, nose piercing has been linked to the regulation of brain wavelengths, making it easier to manage mental health and stability. Additionally, having a left nose piercing is believed to enhance confidence and concentration for the wearer. TAMIL WOMEN WITH DOUBLE SIDE NOSE PIERCING (RETTAI MOOKUTHI)
BARATHANATYAM DANCER WEARING NATHU IN RIGHT SIDE OF THE NOSE, AND A BULLAKKU
Bullakku is a designer jewel hanging from the septum piercing, and Naththu is a nose ring for either nostril. These are highly popular among classical dancers of Barathanatyam While nose rings are not entirely out of fashion, they are becoming increasingly rare.
JEWELLERY FOR NECK
THE THALI IS ADORNED, FLANKED GRACEFULLY BY GUNDU, NAANAL, AND KASU ON ITS SIDES, DELICATELY NESTLED WITHIN A THALI SARADU.
GROOM BINDS THALI, BLESSED BY ALL.
The revered "Thali" or "Mangalyam" in Tamil culture transcends as a profound symbol of cultural and religious significance. These terms, interchangeable, delicately encapsulate the essence of a sacred necklace or pendant, embodying the sacred commitment and marital union of a woman. The solemn Thali ceremony, alternatively known as Suthuru or Mangalyam, is a sacred thread ritual where the groom gently adorns the Thali around the bride's neck. This ritual signifies the profound acceptance of one another as life partners, an intimate gesture woven into the fabric of matrimonial rites. Integral to the tapestry of wedding traditions, the acquisition and design of the Thali are governed by the customs of the groom's family, its form tailored according to caste distinctions. The pendant of the Thali is intricately adorned with engravings of religious symbols, ranging from celestial deities to auspicious signs, thereby infusing a spiritual dimension into the piece. Every Thali, meticulously forged from pristine gold, assumes a distinctive identity tailored to the bride it graces. Its accompanying chain, known as the Thali Chain or Thali Kodi, becomes an integral part of this symbolic ensemble. Occasionally, the Thali may also feature Mogappu pendants, further enhancing its individual charm and personal narrative.
The Thali, a consecrated thread, emerges as the binding force that unites the bride and groom in an enduring commitment to matrimony. It is a amulet, worn steadfastly post-marriage and relinquished only with the departure of a spouse to the realms beyond. The Thali, never an isolated adornment, finds companionship in the form of its counterparts in pair or single , the Thali Kundu and Thaali Urukal. Adorned with symbolic elements such as a banana bunch (Vaazhai Seeepu), honeycomb (Thaen Koodu), paisley/mango (Mangai), pineapple (Annachipazham), swans (Annan), parrots (Kili), and coins (Kaasu), alongside Kundu beads, bottu beads and more, these intricacies contribute not only to aesthetic allure but also carry profound symbolic significance, these elements, including hollow tubes known as Naanal, create a harmonious ensemble, meticulously strung into a turmeric thread, occasionally onto a gold wire, known as Thali Kambi for those of affluent means. A distinctive ceremony, Thali Pirithukokkum Sadangu, unfolds as a symbolic act of untying and retying, signifying the transition into a new marital phase. Beyond its symbolic significance, Thali Urukal also assumes the role of a prudent investment, and in times of dire circumstances, one or two may be tenderly relinquished to meet pressing financial needs. In this intricate dance of tradition and pragmatism, the Thali stands as a timeless emblem of commitment, spiritual resonance, and the intricate tapestry of Tamil matrimonial customs.
DIVERSE THALI DESIGNS
VAAZHAI SEEPU, KASU, AND BOTTU THALI URUKAL
“Wedding is an event. But Marriage is life.” “Mangalyam tantunanena Mama Jeevana Hetuna – Kante Bandhami Subhage Twam Jeeva Sarada Satam.” “I promise to remember the 7 vows by heart, because from now, our forever starts.”
Categorized by their chain shapes, some notable examples include Milagu Mani Malai resembling black pepper corns, Pirandai Kattai modeled after the pirandai plant, Godumai Vidhai representing wheat, Vettrilai Kovai featuring betel-leaf-shaped pendants on a long chain, Kodi Maalai shaped like leaves and plants with soft designs in plain gold, Maanga Maalai designed like mango paisley and adorned with stones, Kasu Malai displaying repetitive gold coins. Further classifications include Kilikasu Malai featuring parrots on the coins or Lakshmi Kasu Malai showcasing Goddess Lakshmi motifs. Mulla Mottu Malai is adorned with jasmine buds, and Malligai Arumbu Malai has extra ridges. The Vilakku Mooku model is another distinct chain design. Additionally, Attigai is a necklacelike ornament worn close to the neck, Aaram or Haram is a necklace, Maalai or Charam is made of plain gold or pearls and corals, Sangili is a chain made of gold only, Kaarai is a neck ornament, and Contrakaram is a moon-shaped chest ornament mentioned in Sangam literature 'Silapathikaram.' Based on the number of layers, they are classified into Erattai Vadam Malai, linked two chains, and Chavadi, featuring five layers of chain.
PAVALA (CORAL) MALAI
MAANGA (MANGO) MALAI
ERARATAI VADAM MALAI WITH MUGAPPU
KASU (COIN) MALAI WITH LAXMI MOTIF
Many of these designs incorporate a "mugappu," a pendant attached to the chain layers, providing extra stability and aesthetic appeal with intricate designs and religious motifs.
ELDERLY TAMIL WOMEN WEARING ATTIGAI
TIRADITIONAL ATTIGAI DESIGN
PADHAKAM SANGILI
MULLAI MOTTU HARAM
JEWELLERY FOR HANDS
A TAMIL BRIDE WEARING GOLD BANGLES
Valayal or Sarivu, bangles crafted from plain gold or gold with stones or gems, are a customary adornment for all Tamil women. These bangles are delicately slid onto the wrists, carrying ritualistic significance. During pivotal moments in a woman's life, such as the celebration of Menarche (Manjal Neeratu Vizha), the Sandal Smearing ceremony (Nazhangu), and the Baby shower ceremony (Vazhaikaapu), they are often stacked in dozens. Additionally, there's a belief that wearing bangles induces friction on the wrist, promoting increased blood circulation. This is thought to contribute to the reduction of the likelihood of elevated blood pressure and aids in maintaining a balanced body energy. Bangles without designs, also known as Kappu.Categorized by the stones and motifs they feature, we have Pachakal Valai for green stone bangles, Vairavalai for diamond bangles, Lakshmi Valai for bangles adorned with Lakshmi motifs, and Kempu Kal Valai for bangles featuring kemp stones.
KEMPSTONE BANGLE
DIAMOND BANGLE
LAXMI MOTIF BANGLE
KANGANAM
The Kanganam serves as an wristband worn during rituals, symbolizing vows or promises. It finds its place during temple prayers and offerings, as well as in wedding ceremonies.
NELI MOTHIRAM / UNGILA
Neli Mothiram is Finger rings based on the vanki pattern
TRADITIONAL VANKI (ARMBAND)
Vangi or Vanki is an armband with a unique inverted curved V design at the center and delicately carved peacocks or florals on the sides. Vanki stands solid and heavy on its own, Positioned on the upper arm, it symbolizes strength, power, and femininity, believed to provide a shield against negative energy and evil spirits. Traditionally adorned with intricate carvings and embellished with precious stones, the Vanki is a customary accessory worn during weddings, festivals, and auspicious occasions.
In addition to this, there are other traditional ornaments that have faded from common use. The Tholvalai Kappu is worn on the shoulder to secure the saree, while the Nagar or Nagam is a cobra-shaped ornament designed for the upper arms. NAGAR/NAGAM
JEWELLERY FOR WAIST
A TRADITIONAL LAXMI MOTIF ODDIYANAM
The Oddiyanam, commonly referred to gold waist belt, serves the purpose of tightening the sari at the hip. It is a significant accessory, often made of gold , in recent times its made with silver coated with gold, worn around the waistline. This piece is not merely decorative; it carries status symbolism due to the substantial amount of gold required for its crafting. Fastened tightly around the waist with a hook and chain mechanism, the Oddiyanam is worn over a saree. Beyond enhancing the beauty of the saree, it also accentuates the curves of a woman's body, making it an essential and coveted accessory.
ARASALA ORNAMENT
ARAIJNAN KAYIRU OR ARAIJNAN KODI,
Aranjanam, also known as Araijnan Kayiru or Araijnan Kodi, is a silver or gold chain designed to be tied around the waist of infants, children, and even men. Alternatively, a thick black or red thread is commonly used for this purpose. Arasala (Arasa ilai) is an ornament designed to resemble a pipal or sacred fig leaf, typically crafted with silver. This ornament is commonly paired with a waist chain for babies, particularly females, serving as a decorative cover for the private area.
JEWELLERY FOR FEET
METTI RITUAL DURING TAMIL WEDDING
Toe rings, known as Metti, Minji, or Peeli, have a special significance in Tamil weddings. Placed on the bride's second toe by the groom, these silver rings are believed to regulate menstrual cycles, maintain uterine health, and promote fertility. Worn by both married women and men, toe rings serve as a visible symbol of marital status. The rings come in diverse designs, often embellished with stones, and can be worn on one or both feet, reflecting personal preferences. STERLING SILVER METTI
Meanwhile, the Sathangai or Salangai, a set of small silver bells, finds its place in the anklet, adorning classical dancers like those in Bharathanatyam and folk performances such as karakattam in Tamil Nadu.
SILAMBU
Anklets or Kolusu, once worn above the ankle joint, including Thandai, Silambu, and Kappu, are former foot adornments that have fallen out of fashion.
BARATHANATYAM SATHANGAI
THANDAI / PATHASARAM
A CHILD WEARING KOLUSU
KAAPPU (PLAIN ANKLETS)
KALYANA KOLUSU ( WEDDING ANKLET)
Kolusu, an ornamental ankle accessory, is donned around the ankles in Tamil Nadu. Some believe that wearing anklets not only adds to aesthetics but also enhances body energy, promoting balance. In Tamil culture, both baby boys and girls wear kolusu initially, but it is typically retained by girl children after childhood. The kalyana kolusu, crafted for weddings with plentiful bell bells ringing auspiciously , signifies marital status and is exclusively worn by married women. While Kolusu can be crafted from various metals, gold and silver , latter is the most prevalent. Known for intricate designs, Kolusu often features extensive string of tiny bells that emit a pleasant sound with each step.
Igniting Possibilities: Conclusion and Beyond Let us navigate the realm of Tamil jewellery, confronting a pivotal question: How do we safeguard our venerable traditions? Although the appeal of obtaining exquisite pieces remains, the escalating surge in gold prices has not rendered it more accessible to all. Simultaneously, the pervasive embrace of modernisation threatens to relegate traditional jewellery to the margins of contemporary taste. In contemplating a solution, we are impelled to bestow upon our Tamil adornments a resonance akin to the sophistication associated with global luxury brands. However, the nuanced tapestry of Tamil jewellery defies a one-size-fits-all approach, relying intricately on the finesse of individual craftsmen who need our steadfast support. Within the sphere of branding, the resurgence of Tamil temple jewellery in the company of Bharatanatyam dancers deserves acknowledgment. Yet, it teeters towards becoming mere costume jewellery, relinquishing a portion of its erstwhile cultural significance. Simultaneously, traditional jewellery stages a renaissance through the lens periodic of bridal couture and hrough periodic films , albeit with a caveat – the fleeting nature of trends risks diluting the inherent craftsmanship. To counter this potential dilution, a concerted effort towards documenting and preserving classical designs becomes imperative. Advocating for our heritage through the acquisition of at least one piece, participation in governmentsponsored handicraft exhibitions, and assuming the role of custodians demand our collective attention. Navigating the delicate balance between preserving tradition and adapting to modern realities in Tamil jewellery requires a multifaceted approach. Emphasising the importance of supporting individual craftsmen and their skills is crucial. Initiating educational programmes that highlight the historical and cultural significance of Tamil jewellery can ensure that the public is well-informed about the traditions they are preserving. Encouraging collaborations between traditional jewellers and contemporary designers can breathe new life into Tamil jewellery, making it more appealing to a diverse and modern audience while retaining its cultural essence. Establishing a comprehensive database or repository for classical Tamil jewellery designs can serve as a resource for designers, historians, and enthusiasts, ensuring that designs are preserved and not lost over time. Advocating for increased government support for traditional craftsmen, including subsidies, training programmes, and grants, is essential for sustaining the craftsmanship that is fundamental to the creation of authentic Tamil jewellery. Promoting the integration of Tamil jewellery in various aspects of modern life, such as daily wear, office attire, and casual settings, can help break the stereotype of traditional jewellery being limited to special occasions. Encouraging consumers to view Tamil jewellery as an investment in cultural heritage and creating awareness about the value of owning a piece of cultural history can foster a sense of responsibility among buyers. In conclusion, as we confront the swiftly shifting sands of trends, it beckons us to transcend the ephemeral and conceive strategies that ensure the enduring vitality of our tradition. The question now rests with you – what 3 avenues can we explore to safeguard and enshrine our cultural legacy for the ages?
RESOURCES DOCUMENTARIES: TEMPLE JEWELLERY | BIG SHORT FILMS | NAGERCOIL BY BIG SHORT FILMS HTTPS://YOUTU.BE/PQMDKHWHKAI?SI=JVQ4MDLIL7HJV6PQ NAGERCOIL TEMPLE JEWELLERY | GLORIOUS INDIA BY HISTORY TV18 HTTPS://YOUTU.BE/4NFEX7VOZK0?SI=MHSKEQKJXYBNZ72Q THE MAGNIFICENT JEWELS OF CHETTINAD: TAMILNADU EDITION: JEWELS OF INDIA BY JEWELS OF INDIA HTTPS://YOUTU.BE/BY5FQXP_7W8?SI=AWK_OQCFOIJOEHAU THE MAKING OF NAKASHI JEWELLERY | JOYALUKKAS BY JOYALUKKAS INDIA HTTPS://YOUTU.BE/ANBVNBCETMI?SI=UZHLYWMVJENRBIHK
EXHIBITIONS AND HERITAGE MUSEUMS: CHENNAI MUSEUM (GOVERNMENT MUSEUM, CHENNAI): ADDRESS: EGMORE, CHENNAI, TAMIL NADU. DIVERSE COLLECTION INCLUDING TRADITIONAL JEWELRY. GOVERNMENT MUSEUM, COIMBATORE: ADDRESS: VOC PARK ROAD, TOWN HALL, COIMBATORE, TAMIL NADU. EXHIBITS RELATED TO THE CULTURAL HERITAGE OF TAMIL NADU. TAMIL NADU HANDICRAFTS DEVELOPMENT CORPORATION (POOMPUHAR): PROMOTES TRADITIONAL ARTS AND CRAFTS. SHOWCASING AND SELLING TRADITIONAL JEWELRY. DAKSHINACHITRA, CHENNAI: ADDRESS: MUTTUKADU, EAST COAST ROAD, CHENNAI, TAMIL NADU. HERITAGE VILLAGE EXHIBITING SOUTH INDIAN CULTURE, INCLUDING TRADITIONAL JEWELRY. JEWELLERY EXHIBITIONS:
RESOURCES JEWELLERY EXHIBITIONS: THE ASIA JEWELS SHOW 2023: COIMBATORE'S MOST AWAITED FINE JEWELLERY EXHIBITION! BY SIMPLICITY COIMBATORE HTTPS://YOUTU.BE/E4REOWJDIYK?SI=SDBFH-AWUFFKVKRL GOLD JEWELLERY RETAILING AND IMPON JEWELLERY : PRESENTED HERE IS A VIDEO SHOWCASING THE RETAILING OF EXQUISITE GOLD JEWELRY IN TAMIL NADU. PARTICULARLY NOTEWORTHY IS IMPON JEWELRY, CRAFTED FROM PANCHALOGA, A UNIQUE ALLOY COMPRISING GOLD, SILVER, COPPER, ZINC, AND IRON. THIS ALLOY, RENOWNED FOR ITS USE IN CRAFTING TEMPLE IDOLS, SERVES AS A COMPELLING ALTERNATIVE TO GOLD IN THE CREATION OF TRADITIONAL AND TEMPLE JEWELRY. THALI URUKAL FROM 1/2 GRAMS DIFFERENT TYPES OF TRADITIONAL GOLD THALI DESIGN/GOLD THIRUMANGALYAM BY RAMS CHOICE HTTPS://YOUTU.BE/ESAG6K8H6IA?SI=CPCT4YQLF8K7HLQQ THALI URUKAL FROM 1/2 GRAMS DIFFERENT TYPES OF TRADITIONAL GOLD THALI DESIGN/GOLD THIRUMANGALYAM IMPON JEWELLERY ONLINE SHOPPING/IMPON JEWELLERY BY BEST BRIDAL HTTPS://YOUTU.BE/WKYUPBQEVE8?SI=PXSZZPP_5MHYGPQW
FEW INTERESTING LITERATURE ON TAMIL NADU TRADITIONAL JEWELLERY: TRADITIONAL TECHNIQUES OF GOLD JEWELLERY: A CASE STUDY OF DEVAKOTTAI, TAMIL NADU HTTP://EPRINTS.NIAS.RES.IN/1883/ MADURAI MINAKSHI TEMPLE GOLD IMAGES AND JEWELLERY HTTPS://PAPERS.SSRN.COM/SOL3/PAPERS.CFM?ABSTRACT_ID=3675263 ROYAL WOMEN AND TEMPLE ENDOWMENTS IN MEDIEVAL TAMIL NADU HTTPS://WWW.NIJRESEARCH.COM/WP-CONTENT/UPLOADS/VOL-3-NO-2-021.PDF
AUTHOR’S WORDS This book is a humble offering, particularly to parents distanced from their homeland. May it serve as a poignant tool, a bridge that connects them to the cultural fabric they hold dear. I extend my warmest wishes to all readers, hoping that this exploration into the vanishing traditions proves to be not just informative but also a deeply enriching experience. May you find within these pages a reservoir of knowledge and a renewed appreciation for the cultural treasures we are entrusted to safeguard.