Traditional rings of the West and India

Kusum Mehta

Rings, perhaps more than any other form of jewellery, are the most universally worn jewels. If a census were to be taken of those who own only one piece of jewellery it quite probable that in ninety cases out of a hundred, it would be found to be a ring. Not only because the giving of a ring is an important concomitant of a betrothal, but because of its significance in official as well as in private affairs.
From the time of the pharaohs, rings were worn as talismans and amulets. In the days when poisoning was a favoured method of disposing unpopular people, rings were worm that were believed to have the virtue of being able to betray the presence of undesirable foreign matter in food and drink. Excavations of famous tombs have yielded up examples of these particular poison-detecting rings still on the fingers of the mummies.
In the days when the art of writing was known only to a privileged few it was the custom for men to wear a ring on which some distinguishing sign or leadge was engraved so that by using it as a real it would give authority and authenticity to letters and documents. When a royal person desired to delegate his authority to an official he would hand to that person a signet ring, thereby giving him the full royal authority in his commands.
Iron rings were worn by the majority of citizens of the Roman Empire. Ambassadors were the first to be privileged to wear gold rigns and only when they were performing some public duty. Then the right to wear rings was extended to senators, consuls, equites (or knights) and all the chief of officials of state. During the Roman Empire there were many different laws with refund to the wearing of rings.
Silver rings were worm by free men and iron rings by slaves. At this time, ring decoration was not confirmed to the ‘table’ alone but was used on the shank, often polygonal or angular. Those roman rings of the third and fourth countries A D, were engraved with Christian symbols, some with the monogram of Christ and some with a love within an alive wreath.
The custom of giving a ring to mark a betrothal is believed to be of Roman origin originally the custom was for a plain ring of iron to be used, the gold ring being introduced in the second century. Of secular origin, it later received esclesisstical sanction and formula for the benediction of the ring exist from the eleventh century.
Other interesting rings of earlier times included the cramp rings which were much worn in the middle ages as a protection against cramp their virtue arising from their having been blessed by the king in a special form of service for the purpose. Decade rings were another fancy in the fifteenth century, used after the manner of rosaries to recite nine ages and a paternaster.
Thumb rings, worn from the fourteenth to the seventeenth century, are referred to by shakesplane when he makes flastagg boast of having been slender enough in his youth to be able to creep into any eldermain’s thumb ring.
During the eighteenth and nineteenth centuries both engagement and wedding rings were usually of heavy gold, gems were of less importance than the precious metal ‘Gipsy’ rings were favored by both men and women and were very popular as engagement rings. While most women favoured the gipsy ring set with three diamonds, men usually wore the one-diamond style.
At this period, too, the ‘keeper’ ring became fashionable. This was a very wide band of gold deeply engraved with an all over design, which was worn above the wedding ring, hence the name ‘keeper’ ring some of these were deeply incised with the word ‘Mizpah’, which was said to mean ‘the lord be between three and me when we are absent one from the other.’
Rings were very much in fashion during the epic period in India. Sita, it is said, Here eyes resplendent with gens...... bracelets and armlets on her arms and wrists.. Jewelled rings on her fingers.. as she walked to accept Rama as her consort’’. Hanuman delivered in her captivity in the Ashok Van of Ravan the mudreyaki or signet ring of Rama for identification.
Use of finger rings has been responded from all parts of India and materials for making of the ornament are gold, silver, copper and brass, bell-metal, cronchshell and an alloy called kathir, The use of brass has been recorded from Orissa and Madhya Pradesh whereas bell-metal and Kathir have been found in Madhya Pradesh only. Conch shell rings have been noted from West Bengal sometimes the rings are studded with real or invitation jewels.
In West Bengal, angti (ring) (known as Anguthi in Madhya Pradesh, the Pungal, Uttar Pradesh, and Himachal Pradesh, in Gujarat it is known as anghathe, in Maharashtra as angthi or Angti) a gold, silver or copper ring set with stones or plain is a popular finger ornament here finger ring made of conch shell is a characteristic ornament.

Diamonds are not for jewellery alone

G V Joshi

Diamond have fascinated human for at least 3,000 years, both as a gem and later as a tool. Scientist’s attempts to make diamonds in laboratories have ranged from Alchemy to research, and finally success was attained conclusively by scientists at the General Electric research laboratories only in 1954-55. Because it is the hardest material known to man, diamond is of great importance to modern civilization and is a vital necessity to any industrial nation. Until the 18th century India was the only known source of diamonds, and they were believed to be found only in the fabled mines of Golconda. Today, about 98 per cent of all diamonds are produced in Africa, with South Africa the largest producer of gemstones, and the Belgian Congo the greatest producer of diamonds, which can not be used as gem.
They are called industrial diamonds. Diamonds are also found in several countries throughout the world-Australia, Brazil, British Guyana, Venezuela, India, Borneo, Russia and the United States. Diamonds occur in ‘‘blue ground’’ of volcanic pipes or intrusions and also in alluvial gravel deposits as the result of erosion from their original volcanic sites.
The bulk of all diamonds of inferior combination of properties become crushing boart which is used in grinding wheels, lapping and polishing compounds. Diamond sizes vary widely from microscopic stones measuring a fraction of a millimeter to those extremely rare, stones weighing several tens of carats, such as the renowned Koh-i-noor, Hope, Orloff, and Cullinan diamonds. Cullinan as originally found in the Premier mine, South Africa, weighed 3,106 carats. A metric carat is defined as 200 milligrams. The average size of diamonds from mines varies quite widely. For example, one mine may produce 3 to 5 stones per carat and other 20 stones per carat on average.
Why are diamonds so important to industry? Modern machine tools depend upon had materials such as tungsten carbide for turning and shaping tools. These tools are most effectively shaped and sharpened by diamond grinding wheels, in which diamond powder is distributed through a binder. The surfaces of machine part often are ground to high precision of shape and dimension by abrasive wheels. These wheels, when made of silicon carbide must be continuously dressed to an exact form by a diamond tool, which in many cases is of a precise shape and has itself been shaped and polished by diamond powder. Precision threads, gears, gas turbine blades, jet engine parts, shafts, and cams are only a few of the parts which are finished in this manner. The fine tungsten lamp filaments and other fine wires are drawn through diamond dyes. The minute holes in the diamond dyes are also drilled with diamond powder.
A variety of gems are shaped and polished by diamonds, and the diamond in your wife’s friend, diamond ring is polished to its sparkling beauty by the only material on earth had enough to cut a diamond. Diamond films have been used in making transistors and microprocessor chips, heart of a computer.
Panna in Madhya Pradesh has a very important place in the history of diamond deposits and exploration. The diamond mines are located in a belt of 80 kms across the district. A number of large diamonds weighing from 15 to 30 carats have been found at Panna mines. The largest weighed a little more than 30 carats.
The Wajrakarur area in Andhra Pradesh is another place where diamonds are found. The name Wajrakarut means ‘‘diamond village’’ after the historical discoveries of diamonds in the area. Exploration is currently in progress by a number of foreign companies in India.
De Beers and Rio Tinto have been chasing exploration areas for many years in Madhya Pradesh and Andhra Pradesh. Recent discoveries have been made in the southeastern areas of Madhya Pradesh in the Raipur area which show very interesting diamond results. J Ballantine Hannay, a Scottish chemist, in 1880 produced minute crystals of synthetic diamonds. Research performed by Percy Bridgman at Harvard University led to the successful synthesis of diamond by scientists of the General Electric Company in 1955. Industrial diamonds are now produced commercially on a large scale. In 1970 Strong and Wentorf succeeded in producing synthetic diamonds of gem quality. New methods of making gem quality and industrial diamonds are being developed. - PTI Feature

Curtain call

Curtains are an essential item in the home. But they can also change the look of a room and showcase creativity. Ritusmita Biswas gives a lowdown on the range of curtains available today
A green velvet curtain came into rescue of heroine Scarlett O' Hara in Gone with the Wind when she plans to go to town to meet Rhett Butler and entice him into parting with some of his money. But she could not reveal her impoverished state now and so needed a new gown. So she ripped off the green drapes in her plantation home matching her green eyes and made herself a new dress. Today she would be spoilt for choices.
From velvet to laces, silks, cottons to jute, the curtains have indeed come a long way. Curtains are not, of course, a new item in house decor. But the fact remains that today curtains are available in much more varied designs, and patterns than they were ever before.
"Windows are the eyes of a room and just as the eye make-up can make or mar the look of a woman's beauty, the window treatment plays a key role in adding to the overall impact of the room décor," says designer Jayanta Ghosh. He agrees that the window treatment options have exploded in the recent years. No longer are the curtains just tools to let in or keep out light from the room or screen you from prying eyes. Today, they have a much greater aesthetic value. In fact, changing the drapes of the room is one of the easiest ways to give the entire room a face lift. "The choice of materials today is almost unlimited and often a new customer is overwhelmed. While choosing the drapes, it is a must to keep in mind the aesthetic as well as the practical requirements of the house," says owner of a prominent drape retailer in Kolkata.
The primary consideration, of course, is the what effect is aimed at. Some rooms like dining and living rooms require much more light streaming in as compared to bedrooms. Hence the curtains must be of lighter material. Curtains in light beige, cream and yellow are great for living room as they allow much more light to come in . However, they might be less suited for bedrooms that require greater privacy. The colour schemes of the individual rooms and the walls should also be kept in mind while deciding on the curtains.
But today's customer is lucky. The variety today is mind-boggling. From checks to stripes, pastels to bright hues, you have them all. Here again, the décor and theme of the room play an important part in selecting your curtain. "For example, if your living room has an ethnic feel go for heavy silken drapes. You can also try an innovative touch by using the zaris from discarded Benarasis to add to the unique feel," says designer Namita Basu. For the first home of a young couple that is not very big in size light drapes in organza, crepes, laces are suited best.
However, if there are kids in the house, light shades might be a bit tough to maintain. "For kids' rooms appliqués and patch works with interesting characters add to the flavour and most kids enjoy it," adds Basu. Indian style chatasi are another interesting option widely used today. "But that must blend with the ambience; otherwise using innovative materials is a total flop," says designer Pinaki Sinha. An oriental room with Feng Shui items and cane furniture with painted Japanese screen could be an innovative idea of a screen décor that matches the ambience. Alternatively in a room with rustic touch and earthenware go for chatais to add to the ambience. Wooden blinds painted in different colours can also add to the innovative décor of the room.
A popular option for window dressing today is blinds. The best thing about blinds is that you can control the amount of light in your room. "If left full open it gives an open window while half opened, it has a pleasant light shade effect. It is this feature that has made blinds a popular option among home makers," says Basu. However, one must check out while buying blinds that the splats are not very close together otherwise maintenance becomes a problem, she advises.
Finally, you do not have to spend a fortune doing up the windows. Make them in a pattern that makes maintenance easy. Budgeting in curtains also makes sense since you can change the drapes at intervals to change the ambience of the rooms when you tire of the old décor. Creativity and imagination with a dash of practicality should make your windows stand out in the block. (TWF)

The call of Khadi

Ritusmita Biswas

It is a fabric that has reinvented itself in a new avatar and has become the darling of the haute couture masses. Gone are the days when Khadi was a fabric associated with dowdy politicians in a Gandhi cap. Wearing this home-grown material today has become chic, cool and the height of elegant fashion.
It's trendy to be ethnic now and khadi is the ideal fabric for it. Even in western wear this fabric manages to create a look that is contemporary yet thoroughly Indian.
In fact, its easy adaptability to a range of designs makes it amenable to both formal and informal look, as well as Indian and western styles. Options available in khadi are no longer limited to kurtas, topis and sarees. They range from khadi - jackets, skirts, dupattas, cropped tops, capris, trousers, wrap-arounds, spaghetti tops, trousers, you name it. No wonder khadi has stolen the heart of the millions of fashion conscious people across the country today. Says noted Bengali actress June Malia, "Khadi helps you achieve a style quotient of your own. Being fashionable for me is carrying yourself with élan and khadi allows you to do the same."
Agrees model Dipti Gujral, "I personally like cotton and cotton blends because that goes with our climatic condition. Bengal's taant sarees have always been my favourite. And as far as khadi is concerned, it is my all-time favourite fabric. It is not boring and mundane at all, with the new trends catching up, khadi is very much a designer wear."
Simone Tata, proprietor of the West Side and Lakme Company and who is considered to be among the most fashion conscious ladies of the country says: "Khadi is a wonderful fabric. It is among my all time favourites and I feel it is especially suited for tropical Indian climate where cotton clothes are a must."
Designer Preeti Jhawar points out that khadi is among the best -suited fabrics for the Indian climate. "The best part about the fabric is that it is a versatile fabric and you can work on it so much. Gone are the days when khadis came in monochromatic and dull colours, today the fabric dons myriad colours and is used abundantly in both eastern and western wear."
In fact, it has become an almost must-have in the wardrobe of fashion divas. At one time coarse and dull, and monochromatic khadi's latest avatar is brightly coloured and in gossamer fine texture. While designers are all in praises for the versatility of the fabric, wearers swear by its practicality and comfort. Not only is khadi the perfect thing to wear for the hot and humid Indian summers but also it serves as an ideal fabric for the chilly winter.
This heritage fabric has a long an illustrious history associated with the Independence movement. Ritu Kumar writes in her book, Costumes and Textiles of Royal India," A century of colonial rule rang a death knell to traditionally produced Indian fabrics which almost went extinct." However, with Gandhiji's call for swadeshi there began an era of revival of the rich textile heritage that the country once possessed. This rich heritage had been almost wiped out by the colonial rulers by systematically replacing the skills of Indian handicraft workers with cheap imitations made in the mills of Birmingham.
Khadi thus became the symbol of Independence in 1920. The Swadeshi movement called for a mass boycott of all imported fabrics and khadi kurta over khadi dhoti or pyjamas or and Gandhi cap for men and khadi sarees for women became the order of the day for every patriotic Indians. This increased focus on Indian traditional fabrics helped the revival of the vast legacy of textile within two decades of India's Independence.
The unfortunate part is that even years after independence khadi came to be associated with a typical fusty image associated with it, as something only the old-archaic, politicians and the jholawalas wore. But not any more. Today khadi has acquired a new style quotient and can rightfully be called as a fabric with an attitude.
Of late almost every leading designer like Rohit Bal, Jatin Kochchar, Malini Ramani and others have used it. Gone are the days when you just had the Khadi Gramodyog Bhawan to buy khadi. Up market brands like Fabindia , Khaddar, etc. have given to the traditional handspun fabric a modern, sleek and contemporary look.
Says designer Agnimitra Paul, "The ethnic look is now in and khadi allows you to create that look with ease. If worn with proper accessories and if carried with grace it helps the wearer make a distinct fashion statement."
Designer Sayantan Sarkar feels that it is the "right" material for "Indo- Western clothes." "Its ethnic quotient adds that needed touch to western wear," he says.
The benefits of the fabric cannot be overestimated. For one it is cool, comfortable and an environmentally friendly fabric. Besides khadi is 100 per cent natural. Not only it is woven with natural fibres but also the fact that it is dyed in natural dyes also makes a perfect combination for a green fabric.
So next time you want to beat the sultry months in style go shopping for khadi. TWF

Fascination of ear jewellery

Kusum Mehta

Of all items of jewellery perhaps the most universally popular is the ear-ring. Women collect ear-rings as children search for lightly coloured shells on the seashore. Men look at this passion for ear-rings with an indulgent or depending on temperament and perhaps age a deprecating eye. Yet ear-rings were once a masculine fashion.
Sir Walter Releigh, representative of the Court gallants of the Renaissance, wore pearl ear-rings, as dial many of his fashionable contemporaries. Shakespeare and other actors at the Globe Theatre also wore them. The wearing of twin pearls as a single ear-ring, usually on the left ear, was especially distinctive of the Elizabethan period.
Many names and designs that were in vogue in ancient times are still in existence. Some names of ear ornaments of the modern age are ordinary words, while those in use previously were poetical or fanciful. This fact indicates that in the modern age of scientific advance there is a tendency for people to be prosaic and practical rather than poetic or imaginative.
The collection of ear-jewellery belonging to the Harappa and Mohen Jo Daro culture is in a class by itself it would be credit to an modern, sophisticated society. This collection contains a number of gold ornaments, which, in fact, exceed the others in quantity.
The Karsna Sobhana of the Rigvedic period had come to be known by the general terms Karna-Kundala, and a variety of ear ornaments are to be seen in the sculptures. The new designs in ear-jewellery came into vogue were the motifs. Of birds and geometrical patterns. Another new fashion that set in was the widening of the lobes of the ears by enlarging the holes.
Ear ornaments in India may be classified into four main types (i) Jhumka or Pendant (ii) Kampasa or stud, (iii) Bali or ring and (iv) Nagula or spiral.
(i) Jhumka- Jhumka is a bell shaped gold or silver pendant with minute globules suspended from its round lower margin with claims. The tapering end of the bell is provided with a chain fitted with a hook by which the pendant is suspended from the hole of the ear lobe.
Jhumka, Tarki, Karnphool, Jukala, Mattal, Jimkhi, Lolakula, Bali, Dul, Dula, Dur Tungal, Dejhor etc are pendant type traditional ear ornaments.
(ii) Kampasa- These are ear studs of various designs kampasa is circular gold disc with a convex, outer surface and is ornamented with designs (mainly floral) in relief. Sometimes minute globules hang from chains fitted to the rim of the disc. It is provided with a screw device by which it is whom through the hole in the ear lobe.
Tarki, Turki, Kanphul, Karanphul, Karanpoo, Buchali Tarkulia Mekuch, Dhore, Furturie, Murki, Kammal, Kappu, Thaluku, Tarpati, Taraki, Dhimna, Pambadam, Mudichi, Pampatam, Thandote and Arthalappam are a few Kampasa type traditional ear-ornaments.
(iii) Bali- This type may be divided into four sub types (i) house-shoe shaped thick and heavy rings worn in lobe (ii) crescent shapped rings worn in lobe, (iii) simple rings of various sizes worn in lobe helise or along the margin of the ear and (iv) barrel shaped broad rings worn in lobe.
Katti-lakal, Makri Khirolonti are the examples of the first sub-type. The crescent subtype may be illustrated lay the makri and Arkni. The third subtype includes Bali, Jhela-Jhumki, Masuria Vedhala, Patina, Chittu, Anthony, Kathi Lakal Kadukkan, Kathuvali, Tammetalu, Murumu, Gunusu, Bala, Bigli, Dandia, Murkila Utrai, Kanousi, Murkin, Dandian, Khilan and organies come under third subtype.
(iv) Nagula- These are spiral ear ornaments of gold or silver in the design of snake. Pagadi and Nogugallu are popular magula type of ear ornaments generally worn in Andhra Pradesh.
The ear ornaments for men are very meagre. Ear rings of gold, silver or brass are worn in lobes; but they are becoming more and more out of vogue and the uses almost limited among the tribes like Bhil, Banjara, Kokne, Meena, Gujar, Toda etc etc.
The ear rings for men are called Bali, Bhibali, Balya, Kudki, Wodi, Kudya, Lavaniya, Mundada, Bighali, Kodya, Kudkiya, Chandkadi, Mudki, Taroti, Sakal, Pagda, Phool, Dhar, Hankal, Kakri, Butiya, Topiya, Chchapam, Vadiya, Marchiya, Cheekadi, Chachaya, Tholia, Bhoongri, Kundak, Kadi, Marki, Zola, Valiyo, Salkdi, Moodya, Nenthian, Kadukkam, Murugu, Murura, Chinna etc etc.
The chief style of ear-ornaments designs in some regions have taken different forms, depending on fashions and on the features of design and workmanship. Nevertheless, there are certain traditional styles that have in existence in certain regions from times immemorial, and in others for centuries. The archaic styles of workmanship, setting of gems, types of designs and fashions have had an unbroken link with the past. Some tastes have persisted, though the ornaments may have undergone a few changes in their designs.
The atmosphere in India, surcharged with an intense desire to revive all that is beautiful and indigenous, the appreciation of the various schools of arts and crafts and the recognition of traditional craftsmanship have combined to give a new orientation to fashions in jewellery.
The old designs are coming into vogue once again. The cumbersome jewellery of rustic India is seen in the most fashionable cities. The desire to wear exotic jewellery is diminishing and a patriotic fervour in the choice of indigenous designs is taking to place.
PTI Feature

Handloom Sarees of India

Kusum Mehta

Cotton fabrics may be said to be the pearl of Indian weaving. It were as though these craftsmen were magicians and waved wands to produce what seemed like dreams. It is no wonder the fabrics were given fancy names like ‘‘evening dew’’ as they became indistinguishable when laid on the grass, ‘‘running water’’, when dipped in water invisible,’’ sherbata’’ (like sherbat) because of their cool appearance and feel on the skin, and woven air, as even a five metre piece could pass through a little ring.
One interesting fact about these muslins is that the fine threads were spun with hand spindles, not the spinning wheel, i.e, the thread drawn by twirling the spindle. The weightlessness of these fabrics has been sung by many poets, comparing them to the moonlight on the tulip or a dew drop on the rose.
Cotton is woven universally all over India and one can take note of only a few places for their distinctive weave. No matter how small or ordinary a weave may seem, it has its own distinctive character.
The Maheshwari sari in Madhya Pradesh has an unusual origin for its traced to a benevolent queen who once ruled over that territory and designed the first saree, Maheshwar, the place itself is charming on the banks of the mighty river Narmada-giver of happiness and is known in the Hindu pantheon as the virgin river.
The Maheshwari saree, mostly in cotton, is characterised by its simplicity yet, with a few singular touches takes on a irrestible charm. The body is plain or has stripes or checks which have several variations. The plain ones are known as Chandrakala, midnight blue and baingani chandralkala, woven with a blackish violet wrap and a chocolate weft.
From Hubli-Dharwar in Karnataka state to Bigapur, cotton sarees are made in dark earthy colours, which mark them out, as also their heavy maroon red or chocolate borders with coloured or white lines or stripes at the edges alternating with white rows of arrows in two or four lines, or with mat design in white or yellow, or in the rudraksh pattern, that is a round multi-dental dark red seed which is very popular in border designs, while the pallu is unique in white and red alternating hands with mounts at the two ends, woven either in cotton or silk.
Varanasi is a class by itself not only for its superb weaving in gold and silver, but also for the very wide variety of techniques and styles its weavers can adopt. They are incomparable in their weaving talent and reproduce any antique museum piece with a distinction that would make anyone mistake the copy for its original.
Varanasi sarees are world famous and identified by a spangles sprinkled all over the body, heavy gold border and pallu in a great variety of designs like floral sprigs, the peacock and cones in the corners. The ornamental end has gold weft and it is brocaded with green parrots. At times there are additional borders in tapestry weave, separately woven and then attached.
Mubarakpur, in Uttar Pradesh, is an important silk centre, particularly for sarees which mainly cater to the rural needs. Their designs are : naga which has gold circles all over with rich floral patterns in the pallu, the chunri has the same ground but the pallu is ornamental with gold flowering shrub and elaborate flower. The body has small flowers and is distinctive in having a narrow border on one side, and broad on the other, the phulwar has all over floral patterns with a lovely blend of colours. Here, the jacquard loom is in use.
Pochampalli makes patola sarees in a large variety of geometrical designs. Chirala has bigger and more pronounced patterns in the same technique.
There is a very beautiful saree called paithani after the village Paithan in Maharashtra state. On a zari wasp thread the weft is interlocked with different colours. In this technique complicated patterns in bright colours art woven, such as highly stylised flowers, swans, parrots, peacocks. The pallu is a fascinating piece of gold tissue round which are woven brightly coloured rosettes, sometimes birds.
Kanchipuram has special name for each of its many designs and colours. Very intricate designs woven into the body in gold thread, of human and animal figures, geometrical patterns, with temple towers along the borders.
A characteristic which lends great distinction and dignity to the Kanchipuram saree is the wide contrast borders. For this three shuttles are needed and while the weaver does the right side, his aide manages the left with separate shuttles.
Here the border designs and colours are quite different from that of the body. This operation also covers the pallu which, however, has to have another warp. If of another shade it is separately woven and joined delicately to the saree, so that the naked eye does not detect the joint.
A very gorgeous specimen is the tissue in which the entire weft is woven in gold or in silver in exquisite designs. (PTI)

Ankle ornaments

Kusum Mehta

The story of ankle jewellery is as old as human variety. A very high stage of finish and design was reached during the epic periods of the Ramayana and the Mahabharta. Jewellery is frequently mentioned in these works. On her wedding day Sita wore jewelled butterflies in her raven black hair. "Her slender anklets are circled round with golden rings, whilst little golden below tinkle upon her toes and the walts with naked feet over the carpeted floor". Kalidasa also has numerous references to anklets. Nupurs are anklets, occasionally set with precious stones, which were won on the feet, making a tinkling sound when the wearer moved. These varieties can be studied in the Mathura Museum.
The paintings of Ajanta (4th to 5th Century AD) show men and women wearing more jewels than clothes. The size and complexity of earrings, bracelets arubands, belts, headdresses, diadems, leg bracelets and rings, which adorn these masterpieces of pictorial art reflect the fantastic splendour that was India.
In ancient India "chains with jingling pendants or tubular rings filled with beads, just like the bracelets, were won found the ankles; some were composed of a series of chains fastened with a clasp set with a jewel. These anklets work on top of the other sometimes reached halfway up the leg; often they would be attached to an elaborate network of chains across the foot, with a medallion in the centre and rings on the tocs.
At Taxila excavations anklets are difficult to distinguish from the bracelets, but their presence on some of the clay figurines seem to indicate that they were used. The foot of a bronze statue has an anklet of much the same pattern as they till worn by the women around Simla. The same type of anklet appears on a figure in a fresco at knosses in Crete.
At Mohenjodaro an anklet of solid silver with ends terminating in cubes has also been found as has been a hollow torque (hansuli) of beaten sheet gold on a core of lac. It is composed of two semi-circles united at the narrow ends by a socket and tenon hinge and provided with a push fastener of copper at the thicker ends, very similar to the modern patent push fastener.
In ancient India anklet jewellery consisted of nupura, tulkoti, and kinkinc, that produced sweet sounds, manjina, tulakoti, derived from the onomatopoeic sound manjuiran manjirah. Anklet jewellery was usually named after its jingling sound. It was sometimes called Kshurdrighantika.
In Rajasthan, women wear a set of ankle ornaments which consists of one Kada, two neories followed by two or three paijanias and lastly a dantedar paijania. It consists of one Kadi, which touches the ankle, above it four patris and lastly one Khokra. Another set of leg ornaments is made of aluminium and consists of Sada Kada or Langar numbering upto three, one decorated Kada curved with some designs followed by Sada Kada. After which a big anklet known as bada kada is won. In former days, women of Jodhpur area used to put on a number of silver anklet ornaments which were emulatively called jor and the anwala, nevri, hiranemi, tanka, etc. Some times numbering seven on each foot. The Bhil and Bhambi women wear silver anklets called Kada and santh.
Ghumkru is a copper anklet worn in Himachal Pradesh.
The other variety is slightly bent due to constriction in the middle or the ornament is curved in such a fashion that its lateral view gives an impression of boat-shape. The bent variety includes ornaments like dikupayeri and banki of Orissa, Kansa, andu of Bihar, Paota or pouta of Uttar Pradesh, Kadian of Jammu and Kashmir, and Thodalu of Andhra Pradesh. Kansa, Kadia and Paota are decorated with engraved designs.
Most of the anklets are circular and they are either closed or have an opening or cleft. The lather variety is provided with two knobs, sometimes carved into the shape of animals head at the juncture. Circular anklets are generally solid but in some cases they are hollow inside with balls so that they produced tinkling sound during walking, e.g. the Kara of Uttar Pradesh.Many ankle jewels are embellished with jingles of all kinds, the idea being to make them give out sweet sounds. Some of them have also come to be named after these sound like kini kini and jhamjham. In Sanskrit literature the gingling of bell-like beads clinging to ornaments are compared to the chirping of birds in the rain.
Anklet is a thick and heavy ankle ornament made of silver mainly, other metals which are used rarely are brass, bell-metal, bronze or copper. In Orissa and Rajasthan, aluminium is also reported to be employed. In no case, gold is used in the making of leg ornament as some sacredness is attributed to the metal.
Anklets are circular or boat shaped. Most of the anklets are circular and they are either closed of have an opening or cleft. The later variety is provided with two knobs, sometimes carved into the shape of animals head at the juncture.
Under Ankle Ring are included think circular closed rings usually made of slender silver wire twisted like a rope.
These are worn in a bunch of three or eight at a time in each ankle. The use of such rings has been reported from Bihar, Orissa, Uttar Pradesh, Madhya Pradesh, Gujarat, the Punjab, Rajasthan and Tamil Nadu.
This type of ankle ornaments is distributed almost all over India and some examples are jhumar or tora. Of West Bengal, payel of Bihar dikupairi or payeri, pondara, pounjai, pati, paunjal and ghungar of Orissa, payal or chagal or paijane, lari and paijeb of Uttar Pradesh, payeli and gulsan pattion of the Punjab, tora of Jammu and Kashmir tore, sakhali or sakali and ghungar or Maharashtra, Zanjar and tora of Gujarat, tora and payal of Madhya Pradesh, Pajeb and tora of Rajasthan and Himachal Pradesh, pattalu or powdalu of Andhra Pradesh and kolusu of Tamil Nadu.The paijeb of Uttar Pradesh is worn by both Hindus and Muslims.
The tora or Jammu and Kashmir is worn by married woman on ceremonial occasions.
In Maharashtra, the ankle ornaments are worn mostly on ceremonial occasions now-a-day.
Tora and ghunghar of this state are usually worn by Thakurs and Banjaras respectively. In Rajasthan besides pahjeb and tora, payal is also worn.It is provided with small trinkets and is worn at the time of dance on the festivals of Gangar and Teej and on marriage occasions. (PTI