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Jewellery of Jammu & Kashmir

Srinagar, a centre for precious and semi-precious jewellery is flooded with traditional as well as modern designs. Most of the jewellery is custom made to met the demand of the ever increasing market. Jammu city has goldsmiths who repeatedly make traditional designs of jhumkas and naths for local consumers. The jewellery of Ladakh region is unique, distinctive, and bears links to its regional history. The Ladakhi women wear an ornament called sondus or branshil, a marriage symbol fixed on the left shoulder which has a few gold or silver discs connected by a number of long silver strands and is given by a mother to her daughter at the time of marriage. An extraordinary head dress called perak, are worn by Ladakhi women wear, and has between 20 and 200 large turquoise and other stones set across a wide leather piece.

"The jewellery of Kashmir is unique in design and very minutely worked. The various types of jewellery such as earrings, necklaces, bracelets, anklets, amulets (ta'wiz), rings, rosary (tasbah), tin or silver charm-cases and head-bands are all delicately worked, even though the base is sometimes solid. The Kashmiri jewellers seem to have had Nature as their model in most ornaments". 

Punjabi Traditional jewellery

Jewelry in India also has had social and economic implications. It is an investment as also a saving for emergencies. The jewelry given to the bride at the time of the marriage becomes her own possession. This was in addition to the love of personal adornment inherent in the women folk. But for mortal humans it also symbolizes the concept of immortality. Precious stones and precious metals, distinguished by this classification from other substance have, throughout the ages, stood for power and wealth. This concept of power and wealth, as imbibed through ornaments, seems to have remained integrated in the psyche of the Punjabi women.

Ornaments of great diversity found from archaeological sites make a fascinating study. We come across several pieces of ear ornaments, which can be divided under several groups like ear-tips, ear-studs, eardrops, earrings and ear-pendants. Bangles have been found in practically all materials known to the people of the Harappan civilization. Head and neck ornaments of gold, silver and bronze, including green jasper and burnt steatite have also been found. 
It seems that for every part of the human body a special ornament has to be provided. But the significance of Punjabi jewelry lies outside of this amplitude, in variety and aesthetics. It is in fact a part of the Indian culture, a facet of its social pattern with deep religious overtones, and has to be viewed against this perspective. It is not surprising that jewelry was used as much by men as by women though more sparingly by the former.

Following Some designs

maharashtrian traditional jewellery

MAHARASHTRIAN TRADITIONAL WOMAN

1) Chooda

The chooda worn by a Maharashtrian bride is green bangles in glass, and not red which is worn by the Punjabi brides. Green is a symbol of fertility for the bride. They are worn in odd numbers in both the hands.

2) Jodvi

A jodvi or silver toe ring is given to the bride by the mother-in-law and symbolises the bride’s entry into a new household. It is a must for any Marathi wedding.

3) Thushi

Thushi is a choker style neckpiece woven with the gold beads very closely. It comes with an adjustable dori so that you can adjust it according to your neck. It looks nice when teamed with paithani saree.

4) Mangalsutra

The traditional strands of black and gold beads are a part of Maharashtrian jewellery list too.

5) Mohanmal

Simple and elegant, mohan mala comprises of round gold beads stringed beautifully in two or three layers. It is a stunning neck piece of Maharashtrian bridal jewellery.

6) Kolhapuri saj

Kolhapuri saaj is very famous among Maharashtrian women & it is as special as Mangalsutra. It is made with jav mani (golden beads) & 21 leaves shape pendent. Every pendent is well-known for its own meaning. Out of these 21 pendent, 10 pendent defines the ten avatar or Lord Vishnu, 2 pendent have ruby & emerald stone, 8 pendent are for ashtamangal (ashta means eight & mangal means good happenings) & last pendent is taviz.

7) Bajuband

baajuband it is crafted with 23-carat gold wire and embellished with stones. The gold band does not go through soldering except at the centre where the ruby-set floral motif is placed. While the ruby depicts the sun, the red colour as always, is seen auspicious for Hindu brides.

8) Putali Har

When you have few round gold coins stringed together on a silk braided patwa cord, you get Putli Haar. Coin necklace or temple necklace is its Maharashtrian jewellery names. The coins have Lakshmi motifs, which symbolises the goddess of wealth. Putli Haar has been an integral part of Maharashtrian bridal jewellery since the 17th century.

9) Laxmi Haar

Lakshmi haar is also known as coin necklace or temple necklace. The coin are decorated with intricate carving of Goddess Laxmi & Lord Ganesha.

10) Rani haar

Rani haar is a long pearl necklace set with three layers of pearl string as well a pendent in middle. It looks very attractive & gorgeous when teamed with paithani.

11) Nath

A typical Maharashtrian nath is an ornament worn by women on her nose at some special occasion such as wedding or a pooja. It is woven with pearls & studded with pink or white stone in the middle. Nath is a nose ornament that is unique in design than any other nosepin and it completes the traditional look of Maharashtrian women. Nath comes in different style, Bramhani nath is one of the famous nath studded with basra pearl & emerald.

12) Paijan

13) Kudya

TRADITIONAL JEWELLERY OF INDIA

            

                    Indian jewellery is as old as Indian civilisation itself. The ruins of the Indus Valley civilisation, going back to 5000 years, have yielded examples of beaded jewellery. In the sculptures at Bharhut, Sanchi and Amaravati and the paintings at Ajanta can be seen the wide range of jewellery worn by man and woman, by king and commoner. The temples of South India, Bengal, Orissa and Central India present a veritable cornucopia of the jeweller's art.

SARPECH

KADA

VANKI

LINGA PADAKKA MUTHU MALAI

NATH

KARANPHOOL JHUMKA