Wardah Naeem Bukhari

Ph.D. Scholar (Art History)

College of Art & Design, University of the Punjab, Lahore
Prof. Dr. Shahida Manzoor
Ex-Principal, College of Art & Design,
University of the Punjab, Lahore

Paranda: A Popular Product of

Patolis (Multan)
Abstract:
Paranda is a popular product of Punjab. This craft is
usually done by women working in homes and the
'patolis' working in 'Sarafa Bazar' (Gold Market),
Multan. Patoli craft originated from the 'Patwa' clan
who belongs to the Hindu community. Traditionally,
they were weavers and engaged in jewellery-making
business and worked with silver and golden threads.
Since the literature on this area is severely limited;
therefore, the research is based on a field survey. The
methodology adopted for this study is posteriori
because collection of information based upon personal
experiences is very important. This study discusses how
the aesthetics of this craft drew from the Mughal
sources and how it became a necessary part of female
identity, particularly in terms of beauty and elegance.
All su ch c ra fts are pr od uc ed by app l yin g o ra l
knowledge and practice that has been passed down
from generation to generation.

Keywords:
Paranda, Patoli, Punjabi Culture, Southern Punjab,
Embroidery, Handicrafts

Introduction
'Patoli' craft has been passed down from generation to generation. The
artisans associated with this craft are also called 'Patolis' who are known for their
specific craft pertaining to jewellery, making it wearable. 'Parandas' are the main
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item which is usually crafted by 'Patolis'. 'Paranda' is a hair accessory made from
yarn used to braid girls' hair especially to accessorize the end part of the hair.
Other variants of the name 'paranda' are 'phundi', 'chutia' or 'bal-choti'. Parandas are
widely made in different kinds of yarns such as silk, cotton or synthetic yarn.
These are usually 30 cm long. A paranda has three strands to support three parts of
the braid indigenously known as 'choti'. The end is secured with tassels and
beautiful pompoms embellished with beads. In subcontinent culture, volume of
women's hair is a symbol of her beauty. Parandas add additional volume to the
braid making them appealing to others. (1)

Special parandas are woven for brides on their weddings. These parandas
are highly embellished and have heavy work on them. A patoli who works
rigorously and has experience of making parandas can make three parandas on
average each day. Paranda is a symbol of femininity and a tradition of
subcontinent. These are not only liked by rural traditional women but also fancied
by urban women during wedding events and with traditional clothing. (2)

Figure 1: Paranda’s with Colored Tassels,

Photograph by Author, 26 September 2019.

Eastern Punjab is known for traditional colorful parandas. Dr. Navid

Shahzad, a prominent name in Punjabi literature, has compiled Pakistani Punjabi
film songs from 1947 to 2000 and there are many songs in the list which talk
about adornment of women and their parandas. In southern Punjab parandas are
made in slightly different colours as compared to eastern Punjab. Multan,
Bahawalpur and Cholistan are known for colorful and mirror work parandas.
These areas are comparatively hot hence people use bright colours since light
colors reduce heat. (3)
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Historically, parandas have been part of women's hair as accessory for a

long time in different forms. Women used to weave colorful threads together and
braid their hair with it. In sub-continent parandas made their way into culture due
to the fact that women used to cover their heads and parandas gave them avenue to
flaunt their hair accessory under the 'dopatta', the head covering or scarf.

Figure 2: The Dancing Girl from Mohenjo-Daro, 2300-1750 BCE. Bronze.

New Delhi, National Museum.
Source: www.harappa.com. September 24, 2019.

The famous sculpture 'The Dancing Girl' found during excavation in Indus
Valley was wearing necklace and bangles. This sculpture proves that the girl is
wearing some hair accessory which looks like a paranda because the hair are tied
in braid and some embellishment is added to it at the end. In some Mehargarh
figurines, women are seen to have braided their hair and tied them up with the
accessory which looks like a paranda. (4)

Figure 3: Figurines of the Mehargarh.

Source: thehistoryhub.com. Accessed: October 9, 2019.
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While comparing the culture of eastern and western Punjab, Kamran

describes that parandas were used in eastern Punjab more than western Punjab.
Hair braiding is part of women's beauty regime since the start of civilization.
Parandas were also popular in the culture of Punjab by Sikh women. They used to
wear parandas with 'shalwar kamiz' (long shirt & trouser). Innovation in paranda
and patoli came into being in the Sikh Period. Their cultural songs and their
traditions are filled with contexts of parandas. (5)

Figure 4: Threaded paranda with golden beads and glass cut work.
Source: india-archives.blogspot.com. Accessed: Sep 23, 2019.

Parandas are the rich traditional and cultural symbol of Punjab. Parandas
are famous accessory of Patiala as well but later they have gained fame across the
world. Women especially of subcontinent are known to love colorful
embellishment especially on their hair but due to the religious and cultural
mandatory hair covering, just the end of the hair can be seen hence parandas are
known to be a part of the culture. It is said that the queens of royal families of
Patiala came up with the idea of embellishment at the end of their hair. This
concept was later developed into formation of parandas. These royals of Patiala
were also famous for getting overly embellished parandas made with
semi-precious and precious stones. (6)

The parandas made today are very different from the parandas that were
made in subcontinent in Mughal era or the ones made during Indus Valley
Civilization. The parandas now use synthetic thread and material which bring the
cost down. The use of mirror, 'zari' (golden thread), pearl work, beads work and
sometimes pompoms makes them very attractive. This is a tribal craft as well
which has a unique beauty in itself. 'Patwa' thread, specifically belong to Rajasthan
is used extensively. The crafts person of patoli tribes strings the beads in the
threads and designs beautiful necklaces, hair-pins, parandas, 'jadai nagam' (hair
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ornament) and bracelets.(7) An intensive work is required to finish the product.

The threads are woven and wrapped neatly and all the other decorative materials
are tied and placed with great perfection.

Figure 5: Jadai Nagam (hair ornament) Tamil Nadu; 19th Century.

Source: (https://www.picbear.org/tag/jadainagam) Accessed: September 30, 2019.

The way women tie their hair in long plait braid is symbolized in different
myths of Indian culture. According to one myth, the three strands symbolize the
house of woman's father, her in-laws and the third strand symbolizes her own self
which binds these two houses. Another myth symbolizes three strands as Shiva,
Vishnu and Brahma. It also symbolizes the merger of three rivers, Ganga, Yamuna
and Sarasawati. In literature, the woman's braid is compared with snake or a
weapon. (8)

'Jadai nagam' is the most prominent jewelry piece where the snake pattern
is used. Snake is seen as the symbol of fertility. The jadai nagam is crafted in such
a way that it takes the shape of the braid. It is ornamented with gold and precious
gems to give it distinct effect. It is known to give spiritual energies to the woman
wearing it. The designs used in jadai nagam are usually floral, extended with
snake like body, used to embellish the hair. This piece of jewelry is complex due
to several parts attached to it which make it complete. According to the Hindu
mythology, the lord Krishna, who had a victory over Kaliya (serpent), is placed
under the cobra head to display as the symbol of triumph. Under this cobra head is
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the long plait which covers the whole braid ending at the lower end of the braid.
Other than cobra and lord Krishna; flowers, sun, moon and other shapes are often
made to give the jadai nagam a beautiful shape and style. Flowers are the most
popular design for this ornament however other cultural motifs such as 'mayal'
(peacock), 'kirtimukha' (the grotesque mask), 'yali' (a composite creature) and
'hamsa' (swan) are also famous because of their religious and cultural context. (9)

Origin of Paranda
Every region of subcontinent has different myths about how women started
using parandas. Historically in subcontinent Muslim women as well as Hindu
women used to cover their heads with 'dopatta' or 'orhni'. These dopattas hide other
hair accessories women used to wear to adorn their hair. However, the end of their
braids were usually exposed due to the long length of hair being in fashion hence
women started embellishing their braid ends with mirrors, beads and other works.
These became so popular that women across the subcontinent started weaving
them at home and later they became a fashion for young girls as well as old
women. Some people also contemplate that the origin of parandas were originated
by older women trying to compensate for their hair fall problem. These women
wanted their hair to still look longer hence started wearing parandas to give an
extra length and volume to their hair. For royal women, parandas were
extravagant. The usage of golden threads with mirror work at the end and peacock
feathers gave these parandas royal look. According to folklore, parandas were the
accessory of an unmarried girl because they were not allowed to untie their hair
and their hair accessories were covered due to 'orhni' so parandas actually were
used to tie hair and compensate for the covered hair. Whereas married women
could untie their hair if they liked. (10)

Parandas were not only popular in masses but royal women were also fond
of it. 'Maharanis' (queens) of Patiala were known to flaunt heavy parandas. Their
parandas had extravagance in them. They were heavily studded with mirror work,
gold or silver threads and multicolored yarns. Fancy ribbons and peals gave it regal
look. They liked parandas so much that their younger ones also wore parandas
with colorful tassels and pompoms attached to them. Once parandas became royal
fashion, it became a fashion for masses as well with variety in colour, sizes,
embellishment on different cultural events. (11)

Paranda Making
The southern Punjab is famous for paranda making. Cities such as
Bahawalpur, Multan (Sarafa Bazar, Chowk Qureshi, Muzaffarabad), Lodhran,
Khanewal and Lahore (Kot Lakhpat) are known to be hubs of paranda making.
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The process of making parandas involves simple objects including a comb,

threads, scissors and a pillar known as 'thullu'. The 'thullu' is used to give structure
to the paranda. 'Thullu' is a wooden pillar placed on a stone base with a hook on
the top which holds the thread. During the process of paranda making, the hook
keeps the paranda threads straight.

Paranda is the essence of southern Punjab's culture. Women wear it either

with 'lachas' (a loose cloth worn as trouser/skirt) or with 'shalwar kamiz'. The
women who want to earn while being at home make parandas using patoli craft
and sell them in markets. Parandas are also sold in 'sarafa bazar' (gold market). A
decade or two ago, every woman was master of making parandas and used to
make their own parandas at home, however this trend has shifted now. Women
now buy parandas from market due to a decrease in the trend of wearing
parandas.(12) There is a list of skilled patoli craftsmen in 'sarafa bazar' who also
make innovative designs of paranda.

Figure 6: Paranda working; Ustad Ramzan (Badshah),

Sarafa Bazar, Multan. Photograph by Author. August 20, 2010.
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Figure 7: Paranda Making; (Late) Ustad Sajad, Sarafa Bazar, Multan.

Photograph by Author. August 20, 2010.

Figure 8: Paranda Making; Ustad Kamran, Sarafa Bazar, Multan.

Photograph by Author. August 20, 2010.
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Figure 10: Paranda Making; Sarafa Bazar, Multan.

Photograph by Author. August 20, 2010.

Function of Paranda
Paranda is a popular hair accessory used by women in Punjab. It is usually
a long tassel or braid, made by hand, out of cotton or silk threads, generally black
but also in bright colors with added embellishments, such as beads or mirror work.
Paranda is braided along with the wearer natural hair to make the braid or hair
look thicker.

The monetary value of a parandas is directly proportional to the intricacy of

work done on it. In this age of matching, every piece of jewellery is matched with
the dress; similarly, women now get the custom made parandas with their
traditional dresses. The jewellery made form gold, silver, precious and
semi-precious stones and platinum have always been a fashion.(13) Paranda making
is a complex craft because the structures and the intricate work involved although
can be leant by a woman at home but still needs rigorous training. The process of
paranda involves braiding the strands of silk or cotton yarn at the beginning and
adding beads or other embellishments at the end. The trimming done at the ending
gives it customized look providing avenues of creative designs.(14)

Designs on Parandas
The original paranda making has evolved into modern ways of making
parandas. The parandas were previously prepared using genuine materials,
however due to increase in cost saving techniques; the old paranda material is
replaced by synthetic material which costs less. However, the parandas still have
'ghungroos' (a musical anklet) and mirror work added to them to give it an
elaborate look.
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Figure 11: Jali Wala Paranda.

Source: www.gaatha.com. Accessed: September 24, 2019.

During Mughal regime, the parandas were especially made with

embellishments of pearls, motifs and mirrors. The motifs used in 'jali wala
paranda' (made of net) are braided in a way which gives them a look of a net. The
design of 'jali wala paranda' was inspired from the architecture of the famous fort
of Patiala known as Qila Mubarak.

The queen of Patiala got the 'jali wala paranda' especially crafted by the
special craftsmen of royal court. They made a 12 inches long highly embellished
paranda with motif all over it. Queens were known to like motif because they
complemented the royal palace mirrors and the pearls of their royal dresses. (15)

Figure 12: Jalaibi Paranda.

Source: www.gaatha.com. Accessed: September 24, 2019.

Other kinds of parandas that got fame are 'jalaibi paranda' and 'laddu
paranda'. They got their names after the shapes of famous sweets of South Asia.
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The 'jalaibi paranda' like its name has the pattern of knotted 'jalaibi' in interwoven
style which gives it a distinct look.

Figure 13: Ladu Paranda.

Source: www.gaatha.com. Accessed: September 24, 2019.

'Laddu paranda', as the name suggests has 'laddu' (round shape) like balls as
tassels at its end. 'Laddu parandas' with single ball at the end of the paranda used
to be gifted to child brides when child marriages were a norm. It was assumed that
young girls would easily bear the weight of the light weight single ball 'laddu
paranda'. For elder women these parandas are embellished with 'zari' and 'gota'
(golden adornment) to give it a heavier look. (16)

REFERENCES

1. Untracht, Oppi. Traditional Jewelry of India. Illustrated Edition, ed.

Thames & Hudson, 2008.
2. -Do-
3. Farooq, Muhammad. "The Traditional Articfacts of the Saraiki Region:
'The Case Study of Khussa." Dissertation, CG Printers, 2013.
4. Roberts, Timothy Roland. Essay. In Mythology: Tales of Ancient
Civilizations, 17. Metro Books, 2003.
5. Kamran, Ustad Rana. Paranda Braiding in Multan by Wardah Naeem
Bukhari. Personal, August 18, 2018.
6. Jawad, Yasir. In Pakistan Ka Saqafti Encyclopedia: Punjab. Lahore:
Al-Faisal Publisher, 2012.
7. Krishnan, Usha R. Indian Jewellery - Dance of the Peacock: Jewellery
Traditions of India. India Book House Ltd, 2006.
8. -Do-
9. -Do-
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Languages & Culture, 2003.
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11. Kaur, Bhipinder. "Divinity in Fashion: A Study on the Popular Culture

of Punjab," 2014.
12. Kamran, Ustad Rana. Paranda Braiding in Multan by Wardah Naeem
Bukhari. Personal, August 18, 2018.
13. Jawad, Yasir. In Pakistan Ka Saqafti Encyclopedia: Punjab. Lahore:
Al-Faisal Publisher, 2012.
14. Naeem, Tayyba. "Gold and Silver-Plating Terms and Types and Social
Traditions in Multan," 2011.
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Craftsmen, August 7, 2010. http://gaatha.com/parandi/.
16. -Do-