Newa Utensils

ANTHI: Usually made with bronze with a bird on the top this jug like container holds aila (traditional alcohol), with Khola (cup) ready to serve aila. A sleek pot with a dispenser pipe to store and serve liquor.

Karuwa: It is a round pot with narrow neck, made of brass or broze, with a dispenser pipe to store and serve  or drink water.

Kay bhu/deyma: These are open plates are used for dinning and made up of brass.

Sukunda and Sumicha:
Sukunda is a decorative oil-container vase with a handle and a diya in the front. It has an image of Ganesha. It is used for praying and offering light to god. Sumicha is the ladle used to pour oil from the vase to the diya.

Gha: Gha (Gagri) is used for storing water.

Tyepa: A vessel used for making aila

Twadewa: It is used during religious ceremonies.

Thapin or Ghau:

Theki:

Swanthala:

Soma: It is a round pot with narrow neck, made terracotta, with a dispenser pipe to serve rice-wine (thon).

Sinhamoo and Jwalanhaykan: These are made of bronze or silver and are presented by parents to their daughter at the time of wedding. The left one is called Sinhamoo and is used to store sindoor (vermillion). The right one is Jwalanhaykan and is used as a mirror. 

Salincha: It is a small terracotta pot for drinking liquor (Aila).

Pujabha:

Potashi / Phosi: It is used to prepare alcohol.

Lapte: It is leaf plate used to eat bhoj.

Lampi:

Khwala: It is small bowl with a stand used to serve lentils and soups.

Khasi: It is a very big cauldron for cooking of hundreds of people in Guthi bhoy.

Kalaa: It is a metal or straw basket with carrying handle used to carry various items for religious ceremonies with objects for worshipping to go to temples, usually while visiting temples.

Hookah:

Gan: These are bells used during religious ceremonies.
 

Dewa: These are lamps.

Daloocha: These are hanging lamps usually placed at the facade of buildings.

Ankhora: It is a slender water container.

Kantur: It is used to store money or coin at home.

Athaa : Big open bowl-shaped pot for washing clothes.

Bhyaga : It is a big bowl, made of terracotta, for storing food etc.

Gopa : It is a terracotta ware for storing water.

Bhaajan : It is a terracotta pot for dry-frying beans, flat rice etc.

Pwotasi : It is a terracotta ware with hole in the bottom, for making alcohol.

Ghaa: It is a set of two stone discs, used to grind grains.

Newa Musical Instruments

There are a great number of Newar musical instruments. These instruments can be classified into four classes according to Sangeet Shastra.

Membranophones - Dhimay, Dhah, Paschima, NyaKhin etc.

Idiophones - Bhusyah, Chhusyah, Tain nain, Baboocha, TiniMuni, Gan etc.

Chordophones - Piwancha

Aerophones - Muhali, Nekoo, Bansuri, Baya, Ponga, Kaha etc.

Mostly used musical instruments in Newar societies are membranophones, which are generally accompanied with idiophones and aerophones.

The instruments can be categorized as:
Membranophones: Dhimay, Paschima, Khin, Kwonchakhin, Damakhin, Dhaa, Nayekhin, Dholak, Nagara, Kantan dab dab

Chordophones: Piwancha, Sarangi

Aerophones: Bansuri, Baye, Mwaali, Ponga, Kaahan

Idiophones: Taa, Babhu, Chhusyaa, Kaynpin, Bhusyaa

Dhimay:

Dhimay is one of the important musical instruments in Newar culture. It is considered as the oldest musical instruments amongst the membranophones and is said that God Mahadev has invented this musical instrument. Even though there is no evidence to this legend, there is evidence to support that it dates back to Kirat period. In Nepalese history this instrument has been used since Kirat age. Though there are Dhimay of different sizes they are of same shape and appearance. It is made of hollow wooden frame of metal whose both ends are shield with skins. One side is played by necked hand and the other one is with a stick. The side which is played with nacked hand is very thinly coated with masala. It resembles the Chyabrung of Kirat Rai’s and Dhola of Tharus.

This instrument is mostly used in Newar culture by “Jyapu” caste of Kathmandu valley. They play these musical instruments in different festivals and programs.

The size of this instrument is mostly 40 inch-radius and 17 inch- length to 51 inch-radius and 21 inch-length. The wooden part is covered with metal to make it attractive. Along with this instrument other instruments like Bhushya, Chushya and Tai-nai are also played. Mostly Bhushya is played and its size is around 10 to 21 inch. In Lalitpur, this instrument is played during Machhindra Nath Jatra and in different occasions. This instrument is one of the main instrument played in Newar culture.

Bhusyaa:
Bhushya is a pair of metallic cymbals with straps to fasten around the wrists. It is a complementary instrument. Technically, these are idiophones. This instrument is played with Dhimay or with other membranophones. The size of Bhushya is around 10 to 21 inch (25 to 53 cm). This instrument is played during different occasions and is one of the main instrument played in Newar culture.

Dhaa:
Gunla ( a month according to Nepal Era ) is taken as Buddhist holy month. As Dhah is played during Gunla it is also termed as 'Gunla Bajan'. It looks similar to Dhimay but is slightly smaller. 

Dhaa is constructed from cylindrical hollowed tree trunk slightly smaller than that of Dhimay. Tuning paste is stuck at the inner side of Mankah. Tuning paste is made of castor seeds, mustard oils etc. 

Besides in the Gunla month, Dhaa is also practiced in different dances and other different festivities. 

Dhaa is accompanied with Bhusya (pair of cymbals), Tah (smaller cymbals), Muhali (clarinet/trumpets) or Bansuri (flute ). Ponga is also played in Bhairab dance. 

Pachhima:
Myth says, Pachhima was invented by lord Krishna. This instrument is also known Khing in Newar language or as Mridanga. The appearance of Pachhima is similar to the shape of Khhen (egg), so it is named as Khing. It is a double headed drum with tuning paste in on hide (Nasah) and dough made of wheat flour is plastered in the other hide (Mankah) before playing.  The average size of Pachhima is 24 inches long, 12 inches wide at the middle and at the end of one side it is 8 inches while other side is 9.5 inches. Both the ends of the instrument are covered with the skin of animals in which Khau (a black spot) to give melodious sound is filled partly. The larger side of the instrument is named as Manka and smaller one as Nas. Pachhima is accompanied with Baboocha (thinner cymbals), Tah (thicker cymbal), Muhali (shwam) or Bansuri (flute).

Nyakhin:
It is another musical instrument used in many rituals. This instruments is mainly played by the Khadgis, however, this instrument is also played by other castes. It is also called as 'Nyakhin' or 'Dyah Khin'. It is one of the nine Tha Bajas of Nau Baja which is similar to the small size Dha. The side which is shield with skin is not coated with any kind of masalas in this instrument. The Nyakhin looks similar to Dhah but it is smaller. It is constructed from hollowed tree trunk of an average size of 14" length and 7" diameter. Nyakhin is played by producing a rubbing vibrato in Mankah hide. Whilst playing as the 'Seeh bajan', Nyakhin is accompanied with Chhusyah and Kaha. Similarly, whilst playing as the 'Gunla bajan' Tah is also played and instead of Kaha, Muhali is played. Since it is also played in funeral processions it is also known as 'Seeh Bajan' (funeral drum). Long long ago, there was a tradition to play fanfare on Nyakhin to proclaim the news. In the Malla period, proclaiming by beating of Nyakhin was widely spread.

It is played in special period of every festivals and Jatras. The newars of Kathmandu plays this instrument while taking dead body of any person to the Ghat.

Dapa Khin:
Dapa Khin has various names: Yakah Khin, Joh khin, Lala Khin, Deshi Khin, for instance. It is double headed drum with tuning paste in both hides. Dapa Khin is mainly played in Dapa Bhajans (traditional hymns). If a single Khin is played it is called Yakah Khin and if two Khins are played, they are called as 'Joh Khin'. 

Dapa Khin is accompanied with Tah, Baboo and Bansuri (flute) or Muhali (Shwam).

Koncha Khin:
Koncha Khin is single headed drum resembling Tabla. It is also termed as 'Khicha Khwah Khin' as it is said that dogs start to cry when Koncha Khin is played. Koncha Khin is mainly played in marriage processions and accompanied with baboo, Tah and Baya or Muhali.

Pastah Khin:
Also known as Kwatah Khin, Pasta Khin is a combination of Dapha Khin and NayaKhin. Ancient stone images of people playing Pastah Khin signifies its use since ancient time.

Pastah Khin is an important instrument in Bajrayan sect of Buddhism. Pastah Khin is accompanied with Ponga and Tah.
Nagara:
Nagara is a kettle drum played with two sticks. This instrument has been described in purans as Dundubhi, Dundhu, Dundhub, Bheri, Adamber etc. It is often played in pair, known as Joh Nagara. Nagara is also played in Panchai Baja as Damaha. It is too played in Mahakali Dance.It is accompanied with Chhusyah and Muhali.

Kantan Dab Dab:
Also known as Damaru, it is a small two headed drum with straps. It is the instrument played by lord Shiva. Kantan Dab Dab is especially played during Mohani Festival.

Magah Khin:
This two headed drum with tuning paste at both ends belongs to magar community, however it has become an important part in Newar folk music. It is said that there are fifty four talas of Magah Khin. It is commonly known as Madal.

Daha:
Daha, or a tambourine is a percussion instrument played in Bansuri Bajan or Khin Bajan. It is also used whilst singing songs and in Bhajans.

Kota:
Kota is one of the major typical musical instruments of Badhya cast of Newars which is a combination of three Tha Bajas. Kota is played along with Pona and has a special importance. Especially it is played on Shrawan Gulamas, Chiva puja and other major pujas in the Buddish monasterys. Though it is one of the major musical instruments of Buddhist it is also given a special place in Nau Baja which shows the presence of multi religious aspects in Newar culture.

Dholak:

Dholak resembles Dhah in structure and its playing techniques are similar to that of Paschima. Dholak is played in Dhalcha Bhajans and also accompanies Bansuri.

Nau Baja:
Nau Baja stands for Dha, Kot, Pachima, Dhancha, Dhime, Dholak, Kokhing, Nyakhing and Nagara in total nine combined musical instruments (skin made related) played in the special occasions and fesvitals is one of the unique and important traditional music of Newari community of Bhaktapur. It is a living legend of Newari culture. Though Nau Baja is a combination of nine major musical instruments as mentioned above other helping musical instruments like Muhali, Ponga, Bayecha, Sichha, Bhuchhya, and Ta are used to add melody in the music. This is why Nau Baja can be categorized into three parts according the musical instruments used. 

Tha Baja: Nine major instruments; Dhha, Kota, Pachhima, Dhhancha, Dhime, Dholak, Kokhhincha, Nayakhhincha and Nagara.

Dhatu Baja: Supporting instruments; Dhuchha, Sichha, Khwolimalicha and Ta.

Fwu Baja: Instruments played by the blow of air; Ponga, Muhali and Bayecha.

Pona :
     It is a kind of musical instrument played by blowing the air. It is also a unique musical instrument of Newar traditional music which is only used by Newar communities. About 1 meter long this instrument is played in Dafa Bhajan, Gula Baja, Kota etc. It is played especially at the time of starting some good deeds or programs.  Besides Newars other class of people in Nepal also plays a similar musical instrument as Pona but their melody, musical composition and way of blowing the air is very different than this.

Dhangro:
Though it is not a Newar instrument it has become an integral part in many rituals. Dhyangro is basically played by Jhankris (Witch Doctors) or Kirats.

Tah:
The word 'Tah' comes from ' Tala ' which is derived from 'Tandava' and 'Lasya'. Tah controls Tandava and Lasya of Music. It controls whole rythm of music. Tah is considered as the principle musical instruments among all Newar musical instruments. Tah, apair os thicker cymbal, is made of Asta Dhatu (an alloy of eight holy metals). It accompanies Dhah, Dapha Khin, Paschima, Koncha Khin, Naya Khin (when played as Gunla Bajab) and others.

Baboocha:
It is thinner than Tah; however, it is bigger in size. It is also made of Asta Dhatu. It accompanies Dapha Khin, Pachima, Koncha Khin, Dholak and others.

Chhusyah:
Also known as Sichhya, Chhusyah resembles Baboocha but is bigger in size. It accompanies Naya Khin, Nagara and others.

Tain Nain:
TainNain is a gong; it is played by striking with a stick. It accompanies Dhimay.

Tini Muni:
It is a percussion instrument consisting of a steel rod bent in the shape rod a triangle. It is played by striking with another steel rod. It is played in Dhalcha Bhajans.

Gan:
Gan or a bell plays a vital role in ceremonial worships such as Shradh, Janko, Ihi and so on. There are various types of bells in practice: Big, Small, Wind bell, Bajra Ghanta, for instance.

Piwancha:
Piwancha is two or three stringed instrument. It is especially played by jyapu (Newar farmer). Unfortunately, it has been extinct.

Muhali:
Muhali is a conical bore shawm, which is played only by Jogi (Kusule) caste. Jogis are given Khanki (land) for playing Muhali in various occasions. There is a tradition to play Muhali everyday in Phalchas, i.e. roofed rest places, which tradition is also known as Siwa Yayegu. Muhali accompanies Dhah, Dapha Khin, Paschima, Nagara and others. Muhali solo is played in Digu Puja.

Bansuri (Flute):

Bansuri is a woodwind instrument which accompanies mainly Paschima, Dapha Khin or Koncha Khin. Basuri are of three kinds: Ghor, Majhawala and Teep, producing low, middle and high tones.

Baya:
Baya resembles Bansuri but they are different in construction and playing techniques. Baya accompanies mainly Koncha Khin. Koncha Khin and Baya are played in marriage procession.

Ponga:
Also known as Payantah, Ponga is a long wind instrument made of brass. Pongas are made by Tamoh or Tamrakar (Newar Coppersmith). It accompanies Kwatah Khin and it is also played in Bhailah Pyakhan (Bhairab Dance).

Kaha:
Kaha resembles Ponga. It is also known as Indra Baja and it is believed to be invented at the time of Manju Shree. It is played with Naya Khin In many festivals nd also playd in funeral processions. There is a typical caste, called Kabuja, who play Kaha.

Nekoo:
Nekoo or horn instrument is the oldest form of musical instruments in the globe. It is played during Gunla month. There are various types of Nekoo, Chatti Nekoo, Thika Nekoo, for instance.

Lakhey Dance

Lakhey – the dancing demon

Newar dances have many forms but the ones that stand out are the masked dances. Lakhey among them is supposedly the most popular and photographed that most recognize. And even more famous is the nerve-racking Majipa Lakhey or Lakhey Āju, performed by the Ranjitkars of Kathmandu. He shows up each year during the Indra Jatra festival (Yenya Punhi) the festival celebrating Indra, the Hindu king of heaven in September and bears its name from a neighbouring settlement of Kathmandu named Majipa. It is believed that in olden times the clothes dyers Ranjitkars, were assigned with the responsibility of organizing and dancing the lakhey dance. While he goes around the city performing, people offer him food and ritual items. The word Lakhey in Newah stands for carnivorous demons. The last day of Indra Jatra witnesses many other dances like the 12 bhairavs but nothing matches the intimidating lakhey dance which is a feast to the eyes of the spectator.

There is also the lesser known female lakhey called Lasin (लसिं) who is believed to be the wife of Majipa Lakhey. They also had a daughter named Lakhapati.

The austere mask known as Khawpa, with eye-catching fangs, saw-like teeth and tresses of red or black hair resembling a demon is believed to be possessed by the spirit of lakhey and that it is the spirit that captures the body of the dancer who then dances to the commands of the spirit. The dancer wears a sparkling red and golden top and a long skirt. They tie handkerchief in both their hands which looks attractive when the dancer waves his hands in the air in a demonic way, a typical step of the dance. The dress of the Lakhey alongwith the mask can weigh up to be quite heavy. And yet the dance is performed with ease and grace. People say this dance is not taught but instead is innate by the dancer from the spirit possessing the mask. The mask itself is a symbol of the traditional and painstaking Newah-Tibetan art made of papier-mâché and yak tails used for the hair.

This dance is performed on the beats of traditional Newah music created by playing Dhaa, a double-headed barrel shaped drum which is the most common in sight among the Newah musical instruments. It is accompanied by Bhusya a pair of cymbals with straps to tie up around the wrists.

There are different lakheys and these mythological creatures are said to live in different parts of Kathmandu city.
Majipa Lakhey (मजिपाः लाखे) also known as the peaceful Bhairav. The dance of this lakhey is performed only in the week of full moon of the month Yenlaa of the Nepal Sambat calendar.
Michyāh Lakhey (मिच्या: लाखे) is a spirit who is said to cause fire wherever it lives and that people possessed by it are also believed to cause a fire. The word Michyāh Lakhey means "fire burning demon" in Newah.
Minpu Lakhey (मिंपू लाखे) also causes a fire.
Gunla Lakhey (गुंला लाखे) is performed during Gunla, the 10th month in the Nepal Sambat calendar which normally falls in August.

There are a number of legends of lakhey. The most prominent is that in the eleventh century during the rule of Gunakamdev Kathmandu was facing severe famine after a long draught. To come out of the situation Gunakamdev invited Goddess Taleju Bhawani to bless the town with rainfall. But along with her came carnivorous Lakhey, her bodyguard. The king could not deny the Goddess to bring him but he restrained his entry from the border of the city. Overtime Lakhey fell in love with a girl from the town Majipa and started visiting her disguised as a human being. One day people recognised him and they arrested him. He was brought to the king but the king exempted him from punishment and in turn offered to allow him to stay in the city if he promised to protect the children from other demons. The king also directed him to partake in the annual Yenya Punhi Jatra, also called Indra Jatra as a punishment ordered by gods for his illicit affair with the young girl. The lakhey agreed and this is how the demon who used to live in the forests became the protector of the city. 

Alongwith the lakhey dances another demon known as Jhyalincha, who provokes the lakhey and slips into the crowd during the whole performance. Lakhey runs after him and seeing him heading towards them people scatter away out of fear and in all this the crowd too looks like a part of the performance. All this depicts the interaction between the world of God, demon and human beings. And perhaps it also recreates a scene of fight between Lakhey and other demons which occurred while protecting the town as per the agreement with the king.

As per another belief lakhey was instructed by Akash Bhairav and Hanuman to send two cannibal children of the king called Sawa and Bhaku in exile. But those two kids came back on the day of Yenya Punhi to claim their rule over the city and to eat humans. And hence on this day lakhey sends them back again out of the city.

In Nepal we can find various other versions of Lakhey apart from that of the Kathmandu Valley. Those Newars, who migrated to other regions, also took this tradition along with them. So, we can see Lakhey performances in dozens of other Newar settlements in different districts of Nepal like Deilekh, Syangja, Kaski, Dhankuta, Sunsari, Jhapa, Ilam and so on. Over a period of time, they might have failed to keep other traditions intact, but Lakhey has been a part of the Newah identity in such places and they are entertaining the locals.

Lakhey is undeniably one of the most significant parts of the Newah culture. It’s a beautiful combination representing both the Hindu and Buddhist traditions. Hence, efforts need to be put forth to preserve it and not let it die in our modern world. After all how often is it that we get to witness recreation of a dancing demon mesmerizing the crowd gathered in God’s court?

MALASHREE

Owners of a rich cultural heritage, Newars have different music for different seasons. There are 6 such tunes played for six seasons. Malashree is the tune played during autumn, usually after Indra Jatra marking the end of monsoon and onset of autumn. It is soft and melancholic.

However, it is not the tune for Dashain. It is just a coincidence that Dashain is one of the widely celebrated festival during autumn. And festivals are incomplete without music.

Enjoy these videos. 

Video Courtesy: Internet

Gathamuga - A unique festival of Newars of Kathmandu

One of the most ancient festivals of the Newa community is ‘Gathamuga’ or ‘Gathemangal’. This year it falls today i.e. on 9th August, 2018. It is celebrated on fourteenth day of dark fortnight of the month Shrawan. It also marks the beginning of celebration of other festivals.

There are many myths attached to this festival. One of them is that in ancient times the people in the Kathmandu valley faced shortage of labour during the monsoon season to work in the vast farmlands. So as a solution to this, with the help of tantric ceremonies, they invoked supernatural spirits in themselves that gave them superhuman physical strength and that helped them to work hard in the fields solving the shortage of labour. And at the end of the plantation season the demons had to be chased away from home and the home had to be cleansed.

Another belief connected to this festival is that there was a demon named ‘Ghantakarna’ who wore pair of bells on his ears, hence his name Ghanta means ‘bell’ and Karna means ‘ears’. People were terrified and tired of him as he used to steal children and women and demanded money from the villagers.  They wanted to get rid of him so one day a large number of frogs came to rescue them. They started to croak all together. This made the demon agitated and he ran after them. The frogs all jumped in the swamp and the demon jumped along with them. The frogs all came out but the demon drowned. Some say Gathamuga and Ghantakarna are two separate stories and what we celebrate on this day is only Gathamuga.

Yet another belief is that when people frequently suffered from gastrointestinal diseases during the summer and monsoon season it was believed that these were caused by a demon. Hence, at the end of the season these demons were to be chased away.

A giant sculpture with paper mask, representing ‘Gatha Muga’or ‘Ghantakarna’, made of wheat straw is put up at cross roads of the main streets which are burnt in the evening. It is believed that crossroads are where the evil spirits rendezvous. Hand-made dolls are hung up on these figures to burn the evil spirits. In the evening a person who acts as Ghantakarna called ‘Aaju Jaya’, applies paint all over his body till he looks monstrous. He is then served with beaten rice with curd under the sculpture. He roams around the streets with a burning torch of husk in his hands begging for donation. The man moves around the sculpture for three times. Everyone drags the sculpture to the nearby river. And in this process Aaju Jaya escapes on the way. Also from this very day the Lakhe dance begins.

The women clean their homes to remove any traces of evil spirits left behind. In the evening ‘Bou Wayegu’ is performed. The eldest man of the house carries out a tantric ritual by driving three iron nails on top of the main door of the house chanting mantras. Then white and black mustard seed sprinkled on coal fire in a small clay pot is taken in all rooms of the home which fills them with thick smoke which is believed to drive away any lingering evil spirit from the house. But looking at it from a scientific point of view the mustard smoke actually acts as an insecticide to drive away any insects that roam around during the monsoon season. An offering of cooked rice or beaten rice, husk and pieces of raw buffalo lungs along with Gathamuga Swan which is a type of flower, known as ‘Dronapuspa’ is placed at the crossroads for the spirits thanking them for their services and assuring that it will be asked for again next year. Once these rituals are over people close all doors and windows and no member of the family is allowed to go out that night. It is believed that sorcerers are very active that night and they visit funeral grounds and other places of worship to become more powerful.

Farmers, on this day, also offer rice and lentil soup to frogs in gratitude for a good rain and for killing Ghantakarna. This ceremony is known as Byan (frog) Ja (rice) Nakegu (feed) literally meaning feeding rice to the frog.

People wear wrought iron metal rings on this day which is believed to have the power to safeguard people from all ills and evil spirits.

Beyond legends and significance, the people of Kathmandu Valley are going through a difficult period to give continuity to this festival these days. It is not a holiday. People don't have time to spend one whole day in the courtyard. It is also difficult to find reed and painted masks. The growing traffic flow does not allow locals to erect effigies in the crossroads. And the mass of immigrant population do not like this festival and raise unnecessary objections. It is difficult to find a boy who is ready to act as a beggar and then perform the final rituals. In all these circumstances, it is highly probable that this festival will turn into a mere story in future.

GWARMARI

Ingredients:

1/2 kg Flour (Atta)

1/2 tbsp Baking powder

1/2 tsp Turmeric power

1 tsp Cumin powder

1 tsp Coriander powder

1 tsp Ginger and Garlic paste

Salt to taste

Sunflower Oil (for deep-frying)

Procedure:

Mix flour, baking powder, turmeric powder, cumin powder, coriander powder, ginger-garlic paste and salt in a bowl. Stir the mixture properly and then add water to it, little by little stirring it continuously to make a thick paste. The batter should be thick enough to drop down in the oil as a dollop. Cover the bowl and leave it overnight for better results. However, you can also make it instantly.

Heat oil for deep frying. The oil should not be very hot otherwise the mixture will get instantly burnt from outside without the interior getting cooked. It should be on medium heat. Now take a tablespoon of the batter and put it in the oil, just like pakoras. You can cook several of them at a time. The batter should slowly fluff up. Fry until it gets a good brown colour. Take out the now prepared Gwarmaris and soak the oil in a paper. Serve hot with tea.

On a personal note, I believe this is one of the easiest recipe I have come across till now which can be cooked at any time as the ingredients are almost readily available at homes. On a cold rainy evening serve it with hot tea to your loved ones.

NEWA JEWELLERY

Communities across the world have groomed up to have their own distinctive culture, customs, food and costumes. But at the first sight the one thing that differentiates one community from the other is their appearance, facial or costumes. And an important part of any costumes are its jewellery worn in different parts of the body from head to toe.

Our Newar community also has a rich tradition of using some beautiful and amazing jewellery. With the passing of times usage of some or most may have been decreased but nevertheless the importance of them as part of our culture can never be overlooked.

This article tries to collect information on our various jewelleries that give us the distinct look and also hoping to revive the love in our hearts for them.

Lunswan: This is probably the most attractive Newar jewellery shaped like a circular disk worn at centre of head. The pattern consists of flowers with three to five birds or peacocks which are attached to the disk with the help of spring.  The spring give the impression of the birds dancing everytime the wearer moves her head. Sometimes it has a quite big image of Lord Ganesh on the center made of coral with superb designs. It is usually used only by the bride on the wedding or during festivals and by the groom's mother at wedding, when she goes to bride's home to bring the bride to her new home. Some exceptions to its use is by the lady of honor in grand pujas. It is either made of gold or is gold-plated A normal Lunswan is about 15 to 20 cm in diameter, sometimes even up to 30 and about 100g in weight.

Jun (Moon) Clip: This is a handmade traditional hair jewellery used as a hair clip. It is shaped like half moon and one must say is inspired by nature with the prints of flower, birds and animals on it. The main frame is made of silver and then it is covered with gold foil. It requires quite a skill to make this clip. It is very much affordable and looks amazing on the hair adding an appeal and goes along well with any outfit.

Kilip: "Kilip" as the name suggests is worn at the back of the head. The word probably came from the english word 'clip'. It is a delicately designed oval shaped gold hair ornament with a cluster of flowers motifs and usually a peacock or moon-shape on the top. It is used as a hair clip on the back of the head. The back of the Kilip is made of silver with a lock on it. People in the hill area use Kilip in pairs.

Nyapu shikha: It is a pair of sets of five or seven chains. Each set is attached to a point on the hair on both sides of the head. The five chains attached to interconnecting chains create a fan shape. Each main chain ends in a pendant. It is another elaborate piece worn on the head. Nyapu Shikha is worn by the bride but can also be worn on other occasions.


















Tuki: Newar women wear sets of Tuki, rows of heavy double studs earring. Most of the Tuki’s are plain but some are made of floral designs as well. Tuki is double studs jwelry inserted in the helix of ear. These are worn by elder women after their ritual procession called Janku. Most of tuki are plain in design but some are in floral design.

Makansi: This is an earring usually made of silver or gold and specially worn with Haku patasi. The earrings are u-shaped.

 

Tayo: One of the largest Newar ethnic jewellery Tayo is a huge necklace worn by brides, and women as well as deities like Lokeswors, Yoginis, Dipankers and Kumaris on special occasions. It has high symbolic significance and religious values. It is believed that the two pointed corners of the pendent signifies the Kathmandu Valley. The upper surface represents its directions. It is said that in ancient times this hollow pendent carried good luck charm. It has a center jewel under the hood of the heads of snake which represents the Swayambhu Stupa of the Kathmandu valley. It’s basically made of gold but brass is also used sometimes.

Teekma: It is a necklace with a number of four-sided thin metal plates that are sewn onto a broad red cloth (cotton or velvet) collar with patterns of flowers or peacocks or leaf pattern. These plates may be made of gold or gold plated copper. A remarkable element of this necklace is a row of teardrop-shaped glass beads which is sewn on the edges of the cloth collar. Teekma is mostly used during wedding ceremonies or in traditional dances.

Jantar (Amulet): The history of this gold ornament dates back to 19th century. It has the print of fish, butterfly, kalash which all represents good luck and it is worn to ward of evils and to bring good fortune. It can also be found made with plain prints on it or can be decorated with Nawa Ratnas, the nine types of colored stones.

Ghau: This is originally a Tibetan traditional jewellery and has been adopted in newar culture through Buddhist newar women from the hilly region, who wear them. It is basically an amulet box pendent decorated with precious stones. The box is attached to coral beads. It is a symbolic jewellery which is associated with the Mahayana Buddhism. The stones at the corners and at the centre implies the Pancha-Buddhas of Swayambhu Stupa, like that of a Tayo.

 




Pyakhan Angoo: This is a finger ring. In Nepal Bhasa the word ‘Pyakhan’ means Dance and 'Angoo' means Ring. And hence, usually the dancers of the traditional dances wear this during their performances. It is also worn by a girl during Ihi and Baray and also during wedding. It is somewhat oval shaped with no motifs and is made of silver. It is usually worn in pairs in the index fingers.

 


Bhimpuma: It is a simple necklace made of coral beads.

  












Kalli: This is worn around the ankles and is typically made of silver and is u-shaped.

Company Shikha or Asharfi Maa:  It is a necklace made of coins.

Baha Shikha Maa: It is a chain of interlocked circular rings.

Tutibaggi: It is a pair of anklets which is put on the feet of a bride by her father-in-law at the time when the wedding is over and the bride is ready to leave her home. This is the first and last time that a father-in-law touches the bride's feet. It is flat and is usually plain.

 

Asharfiya Angoo: This is a ring with a coin on top.

Heena Angoo: This is a ring with layers of rings. Its usually made with one single long metal rounded around.

Patachin Shikha: One of the frequently worn ornament is a simple gold necklace.

Kallya: This is a special bangle because this is the one sent to the bride from the groom's family a couple days before the wedding. Putting it on signifies the finalization of the wedding.

Natubhatuca or Kakica: This is a comb gifted to the bride by her family alongwith a porcupine quill, and several other things. After the marriage, these objects are used to ritually comb the bride's hair and signifies her position as a married woman.

There are many more jewelleries which are used in our community. It was not possible to include each and every one of them in this article due to lack of proper information. However, during the process of writing this article it amazes and upsets me both that though our culture is so rich with so many beautiful ornaments, their usage is diminishing day by day. Ornaments are an indispensable part of a women’s daily life. She does not wear them to follow any tradition but the nature has itself gifted that love in her heart. I am sure with this love in our hearts we can revive and bring to life as many of them.