Kandyan Wedding Jewellery as Heirlooms
Sonali and Sancheevan
Sonali’s ancestral homeland is in Kandy, the ancient capital in the upcountry of Sri Lanka. She is proud and at the same time, humbled, by her family’s lineage to the ancient Kandyan kingdom, famous for its rich cultural traditions and stunning jewellery. Sonali wanted her wedding day to be a homage to her heritage that would make her maternal grandmother proud.
On the day of her poruwa, the traditional Kandyan wedding ceremony, she was adorned in stunning antique jewellery pieces. Some were given to her by her maternal grandmother. Others are borrowed from the women in her close-knit extended family. All the jewellery in Sonali’s collection was made from silver or gold plated silver. Many pieces are set with precious gems.
Putting on jewellery is a significant aspect of getting ready for the poruwa. The first piece of jewellery Sonali put on was the nalal patiya, an elaborate headdress. Her mother draped it over her forehead at an auspicious time. Sonali gathered her hair in a low bun in the Sinhala bandapu konde style. Inside the bun is the konda maala, which was the pin that kept her hair in place. Then, the ira/ handa, the sun/moon, were placed in her hair on each side of her head. They symbolize an eternally happy marriage. On her ears, she wore dimbithi—a pair of dangly, lampshade-like earrings with tassels of mini pearls.
On each of her wrists, Sonali wore three bracelets. The gedi valalla, coral and gold beaded bangles, a seri valalla, a thick bangle made with three golden ridges and engraved patterns, and a gal valalla, a thinner engraved bangle set with small gemstones.
Sonali also wore the maala hatha, the seven long necklaces that represented the blessings from previous generations. Each chain had the padakkam, which were pendants in the shape of intertwined swans, a symbol of unity of the bride and the groom. They were opulent show-stealers set with rubies, emeralds, and dangling pearls. The chains were in various lengths—starting with a chocker with a small pendant. Each pendant following grew larger in size. The last one was palm-sized and reaching below Sonali’s navel. Sonali also wore the peth maale, an elegant, beaded necklace with floral motifs. It was the longest of all the chains.
There are variations in how the maala hatha are counted, depending on the family's traditions and the bride's preference. For example, many Kandyan brides wear the agasthi maalaya, a beaded chain with intricate filigree adorned with orange agate stones. ‘Laskshimi’ is an example of agasthi maalaya. However, it was not a part of Sonali’s wedding assemble.
Though each jewellery piece was meaningful, Sonali’s favourites were the ketchhagama and the havadiya. They were gifts from her beloved maternal grandmother, who taught Sonali about her Kandyan heritage. Ketchhagama is an amulet armlet worn around the right bicep that contains pirith thell, blessed oil, which protects the bride from evil spirits. It looks like three conjoined tubes covered in intricate filigree and decorated with dainty pearls.
The havadiya is the sari chain Sonali wore around her waist on her wedding day. Her maternal grandmother had worn it every day since her wedding day. A strong and hardworking woman, Sonali’s maternal grandmother was a young widow who raised all her children and managed a large estate on her own. One of Sonali's fondest memories was the excitement she felt when she saw her grandmother standing in front of her house as the car pulled up to the driveway. She always looked dignified in her modest sari and her havadiya, which hung many keys to various rooms and storage areas. Sonali has eternal love and respect for her maternal grandmother. Through her jewellery, she was there in spirit during Sonali's poruwa.
Authentic Kandyan wedding jewellery has become rare these days and Sonali’s pieces are heirlooms that embody the stories of generations of women. Thank you, Sonali, for sharing your stories.
Photography by Kesara Ratnavibhushana.