TRADITIONAL JEWELLERY OF KERALA

God's own nation, Kerala, is well-known for its distinctive, timeless traditional jewels, which Kerala brides and ladies wear. Keralaites have an innate love for gold jewellery and view gold as an auspicious metal. Keralan traditional jewellery designs showcase the extraordinary artistry, variety, and purity that have won praise from people all over the world.

 Necklaces such as Palakka Mala, Nagapadathali, Kasumala, Karimani Mala, Mullamottu Mala, Manga Mala, Lakshmi Mala, Cheruthali, Addiyal, Kashali, Elakkathali, Poothali, Manonmani, Vilakku Mala, Karakka Mala, Mohanamala, Erukkumpoo Mala, Sarapoli Mala, Vilwadala Mala, Manimala, etc. are a few of the masterworks of Keralan jewellery.

 Many Keralite people have specific places in their jewellery collections for rings like Pavithrakettu Mothiram, ear studs like Jimikki and Thoda, and bangles like Kappu, Ashtalakshmi vala, Palakka vala, and Nagapada vala

 Each artefact has a narrative to convey. Our ancestors and we are connected through the stories. Wearable art that tells an uninterrupted, living story of our culture

 Keralan brides of today frequently don contemporary gold renditions of the three classic gold marriage necklaces (mangkaliyam anivadam), which comprise components shaped like tigers' claws (pulinagathali).

Even if the usage of animal parts was once associated with magic, the spirit of that belief—the need for safety—remains in the DNA of modern jewellery creation.

Keralan themes endure, change, and tell the continuous tale of civilization. People's anxieties and hopes are represented in ornamentation.

 Regardless of their circumstances or caste, modern individuals are driven to purchase, wear, and create jewellery by the desire to express their identity and the desire to make a "fashion statement."

The development of jewellery-making techniques narrates the history of social and technological advancement. Over time, materials and techniques have become more efficient, yet Keralan-specific design elements have continued to be used in jewellery. This presence, when combined with the essence of the present, makes traditional design an indisputable component of the area's contemporary jewellery art. It should be mentioned that not much research has been done on Kerala's ethnic jewellery. This essay seeks to illustrate how abstracted themes that recur throughout Keralan jewellery serve as a theme to represent human attachments to tradition, safety concerns, social standing, and even love.

Terracotta

 

Terracotta is technically the term applied to fired, unglazed clay artefacts. But symbolically, in India, terracotta embodies the five elements (pancha-bhoota), earth, water, air, fire and aether the existence of terracotta in ancient Kerala was confirmed when terracotta idols washed up on the riverbanks of the Pamba river basin after the flood in August of 2018. The idols found then were representations of Sapta Kanyas (Sapta means seven and Kanyas means virgins) and that of a male figure and a serpent figure Terracotta Jewellery is still popular in Kerala, and the imagery has evolved through time. 21st Century examples have retained the bead forms and added images borrowed from the mural paintings in local temples.

Odyanam/Arapatta

One of the earliest types of wearable ornament is the arapatta/Odyanam (kheki) ornament. In India, yellow orchid stems and red-dyed goat hair were frequently used as embellishments on belts adorned with cowrie shells, or "asiasakikheki." Cowrie shell-adorned men's waist ornaments, known as lapuchoh kuhu, were customarily associated with warriors and were only worn by those who merited the privilege—either via social standing within the tribe, inheritance, or valour in war or raid.”

The Muslim ladies in the Keralan district of Kozhikode wore silver belts.

 Double interlocking wire links with a buckle and hooks on either side make up its design. The inverted hook is engaged with the chain links to secure the belt closure once the end has been passed through the buckle. The hook and buckle components are intricately adorned with intricately twisted wire

Women still use similar types of belts and hip chains throughout India, with regional variations in style. The female members of the Kochi Royal family wore a similar style of waist belt called an Odyanam, which was constructed of silver wire that had been covered in gold plating.

From the third century B.C.E. to the present, wearing hip chains as ethnic jewellery has been a custom during marriage and festive occasions in India. This continuous tradition of design and ethnic use of precious metal belts bears witness to the persistence of cultural influences in Indian wearable jewellery.

The Mala of Gowrishankara  Rudraksha chain: 

A chain woven from Elaeocarpus ganitrus seeds. The Kochi Kings wore this Gowrishankara mala as a neck decoration in the 1800s. Gowri is the name of Lord Parvathy, Shankara is the name of Lord Shiva, and mala is the word for chain. The word Rudra in the name "Rudraksha" means "Lord Shiva," and the word Aksha means "eyes."Spacer rings set with rubies alternate with the seeds. Within the pendant is a tiny idol known as "Gowrishankara." Panchamuki (five faces) Rudraksha beads were the kind utilised to make Gowrishankara Mala. Shaivate priests and men above the age of eighteen are said to wear this type of jewellery, also called rudraksha mala or linga padakka muthu malai, according to Oppi Untracht.

Pavithram ring

Pavithram ring during the 19th century, the Kochi royal family wore this gold pavithram ring. This ring/ornament style is called Pavithra mothiram; the Sanskrit word "Pavithram" means "holy," "pure," or "sacred." The word for "finger ring" is "mothiram." This ring's design motif is an abstraction of darbha grass, also known as kusha grass, and its traditional religious meaning alludes to the wearer's protection. Of all the Indian grasses, darbha grass is the most sacred and regarded as sacrificially pure. Hindus held that it was the first plant that the gods had ever produced. They think it can purify anything it comes into contact with. In all Hindu rites and on auspicious occasions, a dharba grass pavithram ring is worn.  The Pavithram ring is traditionally worn on the third finger of the right hand during religious rites. It is thought to have the amulet-like ability to drive evil spirits away. "Brahma grandhi" is the name of the psychic knot that is shown in this ring. A yogi learns to untie this knot to release the kundalini via the preparation of spiritual practice. Thin gold wire is wound and twined to create knots that are used to create the ring. The artisans must adhere to specific spiritual disciplines when crafting the rings: they must be teetotallers and pure vegetarians the pavithram rings found in Keralan knotted forms are distinct and dissimilar to those found in other parts of India. Keralan rings are made up of two V shapes linked at the top. Tamil upper armlet "Vanki" may have served as the model for this design. The Pingala, Ida, and Sushumna nerves are represented by the three layers of the Pavithra ring pattern. For this reason, it is thought that the user of a pavithra ring gains purity, spiritual well-being, and mental wellness.

The nagapada thaali

Thali the mangalasutra is also referred to as a thali in the majority of the southern states of India. For Indian women, the thali serves as the marital emblem. It is made up of long, gold pieces that have been rounded at one end and are connected by a thread the thread is made from 108 fine cotton yarn threads and dipped in turmeric. The Sanskrit term mangal sutra means "cord," whereas sutram indicates "happy, successful, prosperous, and blessed." The bride wears the thali around her neck, knotted three times. The word "thali," which refers to a necklace, has retained its historical meaning among the Nair people of Kerala. It is used interchangeably with the word "mala." The Hindus of Kerala also wear thali, also known as ela thaali, which means "the shape of a leaf" or "bearing the design of a leaf" and is worn by married women. The Sanskrit syllable "Om" is typically carved out or embossed on the leaf-shaped gold sheet of the ela thaali. Indian married ladies are customarily expected to wear mangalsutra around their necks for the duration of their marriages. Wearing a mangalsutra is thought to allow a wife to call upon the forces of the cosmos to pray for her husband to live a long life.  As Nagapadammalai or Nagafanathali One common type of ornamentation in Indian cultural jewellery is "ophiolatry," or snake-inspired designs (snake forms include sarpa, nag, or panbu.). The custom of donning jewellery that depicts symbolic or real snakes may have come from the belief that snakes are holy deities. One of the most popular symbols in Indian jewellery is the cobra, often known as the Naja tripudians with an enlarged hood. An exquisite specimen of the Nagafanathali worn by the Kochi Royal family in the 19th century

The nagapada thaali, or cobra hood necklace, is the most ancient and popular accessory among Nair women. Nair women think that this is a gift from the gods that will give them the qualities of calmness and patience.

Kasumala

According to Hindu mythology, gold is the metal Kasumala, which represents the warmth of the sun. Gold is associated with immortality in the Hindu religion. This is obviously because gold never corrodes or oxidises, and even if it is buried or kept for centuries, its value does not decrease with time. Coins made of silver or gold have been used for jewellery in nearly every region of India since the Sah dynasty (180–50 B.C.). The usage of coins in jewellery denotes money, status, and support for the current administration in modern-day India. Hindus, particularly Nair women, adorn themselves with Kasumala, a coin with Lord Lakshmi Devi engraved on it. Lord Lakshmi, according to Hindu belief, brings wealth and prosperity. The chain's body is made up of coins embossed with Lord Lakshmi, with green stones studded on the upper tips of the coins. These examples demonstrate Kerala's unbroken taste for coin Jewellery as symbols of status and wealth from 50 B.C. to the twenty-first century.

Kattapoothali 

The thali is the most common gold wedding ornament in the South. Thali is a Sanskrit word derived from the dialect name of the palmyra palm (Borassus flabelliformis; thala). Women used to be required to wear a palm leaf strip around their necks to indicate their marital status. A thali can range in size from small to large and in shape. This piece of jewellery has 30 repeating units, rubies, intricate designs, and small beads hung on the bottom edge.

Pichi, a popular plant found in Kerala, is a variation of jasmine. The Pichi plant's buds are the source of the Pichimottu mala's design. The lockets are arranged in an array to create the gold necklace. In Kerala, the pichi mottu necklace is a common piece of traditional jewellery.

Palakka mala

Palakka mala is the most sought-after traditional jewellery design in Kerala. At first, they were only produced in green to symbolise the state's greenery. The design was brushed with a variety of colours with the introduction of modern fashion, yielding violet, red, blue, pink, and more.  Chokers, palakka long harams, pendants, bangles, and earrings are some of the jewellery made from pakka. A palakka design is typically created in the form of a leaf out of crystal or glass. They can take the form of fusions, manga (mango), pulinakham (tiger-claw), and many other shapes.

The ornate inlays of Palakka are typically set in heavy gold, which gives the jewellery elegance. Palakka designs are also available in other metals and alloys to make them more affordable.

 Mugkolakkallu mala

One type of traditional jewellery worn by Namboothiri (Kerala brahmins) single girls is the mugkolakkallu mala. Women from Namboothiri always wore lightweight, simple jewellery to emphasise their satvik nature. Owning a mukolakkallu mala is a simple yet distinctive necklace.

 

Kumbil mala 

A kumbil mala is a necklace made of gold charms shaped like funnels that are strung together. The design was modelled after a leaf that was folded into the shape of a funnel to contain water. This necklace has a distinct charm, and its pattern encourages blending in with the ethereal beauty of the natural world.

Thalikoottam

One of the most popular traditional jewellery designs among Kerala's Namboothiri women is cheruthali, also known as thalikoottam. In the past, an Andarjanam would wear cheruthali to all events and celebrations. The necklace is currently one of the many gems that a bride from Kerala would aspire to possess and treasure.

Mula mottu mala.  

The significance of jasmine flowers is unmatched in the states of South India. Every festival and traditional event has jasmine. A jasmine bud garland is called mula mottu mala. The necklace is a bride's favourite in Kerala. Every girl typically inherits a pure gold mullamottu necklace in a "amadapetti" from her grandmother. Every generation, imbued with the essence of rich culture, celebrates life in the traditional Malayali manner. The necklace is known as mallimoggu sara in Karnataka.

Pulinakha mala

Elakkathali, as the name suggests, is a collar necklace that flutters in response to movement. The necklace's numerous tiny, thin leaflets that hang from it reflect light in a captivating way, giving the appearance of sparkle. When performing Kerala's traditional dance, Mohiniyattam, the necklace is worn as an adornment.

One of Kerala's delicate traditional jewellery pieces is the tiger claw necklace, also known as the pulinakha mala. It was in the past that warriors wore pulinakha pendants. Later, the talented jewel smiths of Kerala created pulinagha mala chokers, which were modelled after pulinakha pendants.
 

CONCLUSION

The natural world—primarily grass, seeds, fruits, flowers, leaves, animals, celestial bodies, and Hindu mythology—is the inspiration for traditional Kerala jewellery designs. The Kerala ethnic ornaments' enduring design traditions remain unaffected by the constantly shifting fashion trends. It is clear from comparing traditional ornaments from earlier eras to modern 21st-century styles that traditional themes and techniques have a significant enough influence on 21st-century fashion. The classic materials are still evident in jewellery made in the twenty-first century. Agate, terracotta, copper, iron, and fragments of bone are visible in real life or in facsimile. Imitation materials, as well as designs crafted from gold, silver, gems, coral beads, and pearls, depict ivory and tiger claws. There is still a hint of prehistoric jewellery-making techniques in the designs and methods employed in South Indian jewellery. This is clear from the jewellery that sculptures portray. Up until the eleventh century, the fundamental elements of Keralan traditional jewellery were beads, cylinder forms that were both short and long and pendants with flowers. One of the essential elements of Keralan culture and customs is jewellery. In addition to being worn for aesthetic reasons, jewellery has cultural and religious significance as well as being a means of protection against bad luck and natural disasters. Every event in a person's life is connected to jewellery. It starts with a child's first piece of jewellery, which is placed around their waist on the 28th day after birth by their parents using a thick black cord and gold chain. In the end, the child gets piercings in their ears to wear earrings. To ward off evil and enhance their strength, little boys are bestowed with amulets depicting tiger claws and jewellery fashioned from knotted and braided elephant hair. When a child reaches puberty and begins to transition from a child to an adult, jewellery is the customary gift. The essence of Kerala's traditional jewellery design is currently experiencing a rebirth in the twenty-first century as a "fashion statement." Furthermore, regardless of caste or wealth, the desire in society to make a "fashion statement" compels modern people to adorn themselves with these exquisite decorations, which keep them looking fresh.

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