A guide to the symbolism, history and traditional names of South Indian temple jewellery — Lakshmi, peacock, mango, kasu and more.
Temple jewellery is a language. Each motif carries a blessing, and knowing the vocabulary changes how you choose a piece.
Temple jewellery originated close to a thousand years ago in the Chola, Pandya and Vijayanagara shrines of South India, where ornaments were commissioned to adorn deities. The forms later travelled to bharatanatyam dancers and then to brides, keeping their sacred vocabulary intact.
The seated Goddess Lakshmi is the most recognisable temple motif. Set at the centre of a haram or pendant, she signifies prosperity, abundance and auspicious beginnings — which is why Lakshmi harams are central to South Indian bridal sets.
The peacock is associated with Lord Murugan and stands for beauty, love and devotion. Peacock motifs appear most often in jhumkas, vanki (armlets) and side pendants, where the fanned tail gives the goldsmith room for fine granulation.
The mango or manga motif represents fertility, prosperity and the sweetness of life. Manga malai — a long chain of mango-shaped units, often ruby-set — is one of the most collected traditional South Indian jewellery names.
Kasu malai strings replica temple coins, each stamped with a deity. Historically these were gifted coins strung together, and the mala remains a symbol of blessed, accumulated wealth.
Nethichutti (forehead ornament), vanki (armlet), oddiyanam (waist belt), addigai (choker), jhumka (bell earring), thali or mangalsutra (marriage pendant) and haram (long necklace) — together these make up a complete South Indian bridal set.
Authentic temple work shows hand-set uncut stones, granulated wirework, deliberate weight and an antique gold finish that ages gracefully. Insist on a BIS 916 hallmark alongside the craftsmanship.