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Sindhuram Soundarya Saadanam ?

By- Dr. Veena Shekar

Customs and traditions have always been a part of one's life in India. With the tradition always being receptive to new elements, it has generated ideas and ways of thinking for a comfortable and modem living. This eclectic yet dynamic outlook has saved the nation from a cultural breakdown. The customs and traditions which our ancestors had patterned themselves upon have been reduced to essentials today to accommodate the modem living standards. But the ideology has always been retained.

Of the many attributes of the ethnic beauty of India, wearing the kumkum (red dot on the forehead), the thali, the Sindhur (on the hair line parting-more commonly used by the women of Bengal) and the toe rings seem to be a constant affliction with many of the Hindu married women. The concept of a kumkum adorned face is so imbibed in our culture, that the idea of seeing a woman's face sans kumkum does not please even the most broad-minded Indian.

A majority of women today do not use the Sindhur or kumkum powder directly, as they find it unwieldy and cumbersome. But they have resorted to a more practical and quicker substitute for kumkum, the sticker Bindhi. This Bindhi being made of felt cloth has gum on one side of it and comes in all shapes, sizes and colours. At times it has beads and golden motifs affixed to it to render a decorative look. Expensive bridal wear or designer Bindhis have semiprecious stones embedded. The designs are mostly folkish but the round ones are still most popularly sought.

The fact that the kumkum or its substitute, the Bindhi, can add charm and beauty to the face is evident but it also embodies a deeper significance that many may not be aware of.

Mention has been made in the religious and mythological texts, of how Radha made a tinkling on her forehead of a burning long flame, which is popular even today. Later, in the Mahabharatha, we come across Panchali wiping of her kumkum in desperation and as a vow
against Dushyasana But practically in the olden days women used Chandana, aguru, kasturi, kumkum and Sindhur to make a tinkling on their forehead which signified the good fortune (Soubhagya) of a woman whose husband was alive and the widows were prohibited from wearing it. Kumkum and Sindhur appear to be two different materials- kumkum being red turmeric and Sindhur which is worn on the centre parting of the hair is Zinc Oxide. Both are auspicious materials mentioned in several texts of the puranas, the Lalitha Sahasrara Naama, the Soundarya Lahari etc. These sacred materials belonging to women seemed to have been originated from the fortune (Soubhagya) that rested in the heart of Vishnu.

Some texts of the purana (Brahmavaivarti purana, Matsya purana, Skanda purana) say that when God went about body creation and the regions Bhuh, Bhuvah and Svah were burnt, the fortunes of these areas flew to Vaikunta and took refuge in the chest of Vishnu.

In another context, Brahma and Vishnu grappled for supremacy and a huge column of light erupted in the ocean which was the jyotirlinga of Shiva. As the two powers battled, there arose a contest as to the knowledge of the bottom and top of the fiery column. As Brahma went searching, Vishnu realising its futility stood by the column and waited. The heat produced from the column caused the fortunes resting in the Lord's chest to get ripened and fly
out, taking the form of the eight ingredients which are sugarcane, various fluids, cumin seeds,
saffron, salt etc. They came down to earth and settled here since then

Women made use of saffron and the kusumbha flower, (ground into a paste) going by their coioul10r application on the forehead. Several scholars have interpreted the essence of wearing the kumkum on the forehead giving simple explanations but the colour red seems to have a categorical importance. Kumkum is veritably derived from turmeric and is coloured red for application and also for offering to God, which is expounded by many as substitute for former blood sacrifice.

During the bygone days, the Brahmin community was involved in a lot of animal sacrifices to please the Goddess Shakti who in return would bestow good fortunes and good health. Later, the priests decided to put an end to the sacrifices and instead offered gifts to the Goddess in red colour to denote blood, like a red saree, red flower and vermilion powder.

Some scholars also believe that the wearing of kumkum must have been triggered off by the practice of keeping Veer tilak by the kshatriyas. On the day of a kshatriya marriage, the father-in-law anointed with blood the tilak on the daughter-in-Iaw's forehead by cutting his thumb with a sword blessing the bahu to have a Veer putra. Veera Le., courage was always associated with blood and red colour. This practice could not be abided by the Brahmins and they resorted to the much easier vermilion powder.

Another more simplified and admissible clarification is that there was less of open interaction amongst people of the olden days. Delicate matters were never discussed openly. For example when there was a death in the family women abstained from wearing the kumkum simply to inform the neighbours and other visitors that there was a death ceremony in process or a demise. During these ceremonies many women wore turmeric instead of kumkum because with a plain forehead they would be mistaken for widows. Even during menstruation a woman refrained from wearing the kumkum merely to notify her condition and also to look unattractive and plain to her husband who might make advances at her, thus avoiding infection and other unwanted complications. The kumkum was more than anything else the carrier of marital status, because the thali came into use much later and was also worn inside, hidden from outside view. These things naturally point to a society very neatly and culturally planned.

Women are also known to wear the vermilion dot as it is a symbol of auspiciousness and in orthodox families widows are prohibited from wearing it. Because of this reason, the kumkum is known to represent marital status though unmarried girls or even men wear this mark.
The red colour of the kumkum is also said to symbolize love (Sankachuda is said to have proven his love by making a tinkling with kumkum on Tulsi's forehead) and as the yellow of the turmeric has the power to influence the intellect, the y are usually placed side by side before serving to God, or to women visitors at the time of taking leave to show good will and wishing for the lasting of the good fortune. In the households, the kumkum powder which is meant for cosmetic purposes used to be stored in the former days along with collyrium in very valuable cases sometimes in the shape of a mango or a lotus petal or a pot with tassels or small bells hanging on the sides.

The use of kumkum in Hindu temples is of inexorable importance especially in the temples dedicated to Shakti, Lakshmi and other vaishnaivite temples. The red Sindhura is particularly favoured by Goddess Lalitha and used by women during lalitha-vrata.

In the temples, after the deity is given a ritual bath, and decorated with flowers, silks and jewellery, kumkumarchane, (a homage) is offered by the vermilion powder. The Sloka goes like this:
Haridraachumasamyuktam kunkumam kaamadaayakam I vastraalamkaranan Sarvam devi tvam pratigrhyatam I amukudevyai namah I kunkumam samarpayaami I

(Goddess, accept all, garments, and ornaments and kumkum accompanied with turmeric powder which grants desires, salutation to the Goddess so and so I offer kumkum.)

This ritual is of great momentousness on Fridays and special occasions. The kumkum is later distributed among the devotees. The object is to create harmony, and to entrap and concentrate power which is in the kumkum for the benefit of the community.

The place where the kumkum is worn i.e., in between the eyebrows is of considerable significance too. The area between the eyebrows is known as the Agna (6th chakra) meaning command. It controls the various states of concentration realised through meditation. It has a central point called Bindu where at all experience, all being is compacted into its utmost concentration. Men are particularly known to wear the circular vermilion dot as a mark of spiritual intelligence and mysticity very similar to the forehead dot known as urna found in the sculptures of Lord Buddha of the second and third century A.D.

The doctrine of Tantra holds the theory that during meditation, the kundalini i.e., the latent energy which lies at the base of the spinal column is awakened and made to rise to the point of Sahasrara (7th chakra) in the head or brain. One possible outlet of energy is through the central point Bindu. Hence it is believed that to retain the energy in the human body the kumkum in red which represents Shakti is kept in between the eyebrows which has the power

to control. The central point is usually represented in a round form of a Bindu. It is possible that the modem name Bindhi given to kumkum was derived from this. Apart from the vermilion dot during meditation and while offering prayers men sported a variety of tilaka marks on
their foreheads, though the tradition was formerly more prominent and emphatic and less today.

The Brahmavaivarti purana states that after taking a bath one has to make a tilaka on the root of his arms, on the forehead, on the neck and on the chest. One's snana, dana, tapa, homa becomes fruitless if one does not make a tilaka - made of the following - gorocana (cow bile) with cow's urine, warm cow dung, these two along with curds and sandal should be marked on the forehead. This tilaka is conducive to prosperity and health. The tilaka, also called tika, is a ritual mark made on the forehead, arms, or chest with red, yellow or white pigment i.e., with Sindhur, sandalwood paste or ashes (vibhuti) to designate one's sect. Even women, it is believed sported these marks for the same purpose. The marks may be horizontal or perpendicular lines, dots, rectangles, circles, oblongs or triangles. The mark of the followers of Vishnu, Krishna or Rama is generally perpendicular and includes a central line with a stroke on either side, sometimes with a dot in the middle denoting the foot print of Vishnu.

Human body has been likened several times to a temple, a place where God resides. Just as the temple is cleaned every morning and an attractive Rangoli is delineated to adorn the entrance and to welcome devotees, so also the human body is expected to be bathed and the tilaka is marked over the body before submitting to God in a state of goodness and sincere devotion. Lack of it all only denoted emptiness.

In the olden days, a variety of tilaka marks were borne by men. The Skanda purana and the Brahmavaivarti purana mentions the usage of different tilaka marks. Each mark had a significance attached to it. A person putting the trisula mark would hold the pradhana principle that is composed of Brahma, Vishnu and Shiva, a white disc mark denoted the Sun and full of Brahman lustre. There is also mention of the marks of the conch, the disc, the mace, the lotus etc. The Skanda purana mentions of a crescent mark that is worn by couples at the time of marriage. It is believed that this mark is conducive to the growth of male progeny and the destroyer of all sorrows and diseases.

The colour of these forehead marks were believed to be symbolic too. The black colour was for pacification, red for control, yellow for wealth, white for release (moksha) and so on. The Svetasvatara upanishad mentions that the colours also represent the three forces as red for rajas, black for tamas and white for the cohesive sattva.

In more recent times, we come across, men having a Saad on their forehead made of jaggery. This Saad was kept while the afternoon. meals was consumed. It points to the social etiquette of these times, because if a person calling on someone during day hours, without bearing the Saad indicated that he had not eaten, and a meal would be arranged immediately.

The nama of the Hindu custom worn by several men is not a caste mark but merely pointed out as to which sect or faith the person believed in (Shaiva or Vaishnava). The followers of Vishnu wear both the V-shaped and Y -shaped mark depending on their sect. The Madhvas or the people belonging to the Visishtadvaita sect wear the caste marks known as Mudra (the design of Sri-chakra) below their temples using a kind of earth called Gopi Chandana. The Saivaites wear horizontal lines made of sandalwood paste or ashes.

While the namas are always worn to designate one's sect, the kumkum is used by women of all sects.

Today, over indulgence in westernisation and the thought that it could be cumbersome and embarrassing, several men have abstained from wearing the tilaka or the nama marks but for few religious men. Even women have begun to treat the kumkum more as a beauty mark and try to match its design with their clothes.

But it certainly is an indelible fact that these forehead marks especially the kumkum in the form of powder or Bindhi are known to emit a radiance, a sense of good feeling to the beholder and to the person who wears it. Apart from serving for identification they represent a culture that is unique and unfamiliar anywhere else in the world and such natural carriers
certainly call for more wearers.

Deccan Herald 15th Feb 1997

Author

Dr. Veena shekar, is an art-historian and web designer. A voracious and avid reader of various subjects, Veena Shekar developed a keen interest and passion for art and art related subjects. This passion was enhanced further when she went to Paris in 1990, where she studied a few art courses. Her two years stay in the art-loving country immensely helped her pursue her career in the field of art-history.
Shekar holds a double post-graduate degree in English Literature and art-history and a post-graduate diploma in Journalism. She was awarded doctorate for her thesis " A study of historical paintings of karnataka between 1780 and 1830" in the year 2002. She is currently working on the manuscript for publication.
As a visiting lecturer at many art institutions of Bangalore, Veena Shekar’s contribution to art in general is note-worthy. She has been contributing to various magazines, newspapers and journals on human interest and art related topics and has designed a few art related websites worthy of mention.She is presently residing in Bangalore, India.

Send mail to Dr. Veena Shekar

Visit Veena shekar's Homepage



	Sindhuram Soundarya Saadanam ? By- Dr. Veena Shekar Customs and traditions have always been a part of one's life in India. With the tradition always being receptive to new elements, it has generated ideas and ways of thinking for a comfortable and modem living. This eclectic yet dynamic outlook has saved the nation from a cultural breakdown. The customs and traditions which our ancestors had patterned themselves upon have been reduced to essentials today to accommodate the modem living standards. But the ideology has always been retained. Of the many attributes of the ethnic beauty of India, wearing the kumkum (red dot on the forehead), the thali, the Sindhur (on the hair line parting-more commonly used by the women of Bengal) and the toe rings seem to be a constant affliction with many of the Hindu married women. The concept of a kumkum adorned face is so imbibed in our culture, that the idea of seeing a woman's face sans kumkum does not please even the most broad-minded Indian. A majority of women today do not use the Sindhur or kumkum powder directly, as they find it unwieldy and cumbersome. But they have resorted to a more practical and quicker substitute for kumkum, the sticker Bindhi. This Bindhi being made of felt cloth has gum on one side of it and comes in all shapes, sizes and colours. At times it has beads and golden motifs affixed to it to render a decorative look. Expensive bridal wear or designer Bindhis have semiprecious stones embedded. The designs are mostly folkish but the round ones are still most popularly sought. The fact that the kumkum or its substitute, the Bindhi, can add charm and beauty to the face is evident but it also embodies a deeper significance that many may not be aware of. Mention has been made in the religious and mythological texts, of how Radha made a tinkling on her forehead of a burning long flame, which is popular even today. Later, in the Mahabharatha, we come across Panchali wiping of her kumkum in desperation and as a vow against Dushyasana But practically in the olden days women used Chandana, aguru, kasturi, kumkum and Sindhur to make a tinkling on their forehead which signified the good fortune (Soubhagya) of a woman whose husband was alive and the widows were prohibited from wearing it. Kumkum and Sindhur appear to be two different materials- kumkum being red turmeric and Sindhur which is worn on the centre parting of the hair is Zinc Oxide. Both are auspicious materials mentioned in several texts of the puranas, the Lalitha Sahasrara Naama, the Soundarya Lahari etc. These sacred materials belonging to women seemed to have been originated from the fortune (Soubhagya) that rested in the heart of Vishnu. Some texts of the purana (Brahmavaivarti purana, Matsya purana, Skanda purana) say that when God went about body creation and the regions Bhuh, Bhuvah and Svah were burnt, the fortunes of these areas flew to Vaikunta and took refuge in the chest of Vishnu. In another context, Brahma and Vishnu grappled for supremacy and a huge column of light erupted in the ocean which was the jyotirlinga of Shiva. As the two powers battled, there arose a contest as to the knowledge of the bottom and top of the fiery column. As Brahma went searching, Vishnu realising its futility stood by the column and waited. The heat produced from the column caused the fortunes resting in the Lord's chest to get ripened and fly out, taking the form of the eight ingredients which are sugarcane, various fluids, cumin seeds, saffron, salt etc. They came down to earth and settled here since then Women made use of saffron and the kusumbha flower, (ground into a paste) going by their coioul10r application on the forehead. Several scholars have interpreted the essence of wearing the kumkum on the forehead giving simple explanations but the colour red seems to have a categorical importance. Kumkum is veritably derived from turmeric and is coloured red for application and also for offering to God, which is expounded by many as substitute for former blood sacrifice. During the bygone days, the Brahmin community was involved in a lot of animal sacrifices to please the Goddess Shakti who in return would bestow good fortunes and good health. Later, the priests decided to put an end to the sacrifices and instead offered gifts to the Goddess in red colour to denote blood, like a red saree, red flower and vermilion powder. Some scholars also believe that the wearing of kumkum must have been triggered off by the practice of keeping Veer tilak by the kshatriyas. On the day of a kshatriya marriage, the father-in-law anointed with blood the tilak on the daughter-in-Iaw's forehead by cutting his thumb with a sword blessing the bahu to have a Veer putra. Veera Le., courage was always associated with blood and red colour. This practice could not be abided by the Brahmins and they resorted to the much easier vermilion powder. Another more simplified and admissible clarification is that there was less of open interaction amongst people of the olden days. Delicate matters were never discussed openly. For example when there was a death in the family women abstained from wearing the kumkum simply to inform the neighbours and other visitors that there was a death ceremony in process or a demise. During these ceremonies many women wore turmeric instead of kumkum because with a plain forehead they would be mistaken for widows. Even during menstruation a woman refrained from wearing the kumkum merely to notify her condition and also to look unattractive and plain to her husband who might make advances at her, thus avoiding infection and other unwanted complications. The kumkum was more than anything else the carrier of marital status, because the thali came into use much later and was also worn inside, hidden from outside view. These things naturally point to a society very neatly and culturally planned. Women are also known to wear the vermilion dot as it is a symbol of auspiciousness and in orthodox families widows are prohibited from wearing it. Because of this reason, the kumkum is known to represent marital status though unmarried girls or even men wear this mark. The red colour of the kumkum is also said to symbolize love (Sankachuda is said to have proven his love by making a tinkling with kumkum on Tulsi's forehead) and as the yellow of the turmeric has the power to influence the intellect, the y are usually placed side by side before serving to God, or to women visitors at the time of taking leave to show good will and wishing for the lasting of the good fortune. In the households, the kumkum powder which is meant for cosmetic purposes used to be stored in the former days along with collyrium in very valuable cases sometimes in the shape of a mango or a lotus petal or a pot with tassels or small bells hanging on the sides. The use of kumkum in Hindu temples is of inexorable importance especially in the temples dedicated to Shakti, Lakshmi and other vaishnaivite temples. The red Sindhura is particularly favoured by Goddess Lalitha and used by women during lalitha-vrata. In the temples, after the deity is given a ritual bath, and decorated with flowers, silks and jewellery, kumkumarchane, (a homage) is offered by the vermilion powder. The Sloka goes like this: Haridraachumasamyuktam kunkumam kaamadaayakam I vastraalamkaranan Sarvam devi tvam pratigrhyatam I amukudevyai namah I kunkumam samarpayaami I (Goddess, accept all, garments, and ornaments and kumkum accompanied with turmeric powder which grants desires, salutation to the Goddess so and so I offer kumkum.) This ritual is of great momentousness on Fridays and special occasions. The kumkum is later distributed among the devotees. The object is to create harmony, and to entrap and concentrate power which is in the kumkum for the benefit of the community. The place where the kumkum is worn i.e., in between the eyebrows is of considerable significance too. The area between the eyebrows is known as the Agna (6th chakra) meaning command. It controls the various states of concentration realised through meditation. It has a central point called Bindu where at all experience, all being is compacted into its utmost concentration. Men are particularly known to wear the circular vermilion dot as a mark of spiritual intelligence and mysticity very similar to the forehead dot known as urna found in the sculptures of Lord Buddha of the second and third century A.D. The doctrine of Tantra holds the theory that during meditation, the kundalini i.e., the latent energy which lies at the base of the spinal column is awakened and made to rise to the point of Sahasrara (7th chakra) in the head or brain. One possible outlet of energy is through the central point Bindu. Hence it is believed that to retain the energy in the human body the kumkum in red which represents Shakti is kept in between the eyebrows which has the power to control. The central point is usually represented in a round form of a Bindu. It is possible that the modem name Bindhi given to kumkum was derived from this. Apart from the vermilion dot during meditation and while offering prayers men sported a variety of tilaka marks on their foreheads, though the tradition was formerly more prominent and emphatic and less today. The Brahmavaivarti purana states that after taking a bath one has to make a tilaka on the root of his arms, on the forehead, on the neck and on the chest. One's snana, dana, tapa, homa becomes fruitless if one does not make a tilaka - made of the following - gorocana (cow bile) with cow's urine, warm cow dung, these two along with curds and sandal should be marked on the forehead. This tilaka is conducive to prosperity and health. The tilaka, also called tika, is a ritual mark made on the forehead, arms, or chest with red, yellow or white pigment i.e., with Sindhur, sandalwood paste or ashes (vibhuti) to designate one's sect. Even women, it is believed sported these marks for the same purpose. The marks may be horizontal or perpendicular lines, dots, rectangles, circles, oblongs or triangles. The mark of the followers of Vishnu, Krishna or Rama is generally perpendicular and includes a central line with a stroke on either side, sometimes with a dot in the middle denoting the foot print of Vishnu. Human body has been likened several times to a temple, a place where God resides. Just as the temple is cleaned every morning and an attractive Rangoli is delineated to adorn the entrance and to welcome devotees, so also the human body is expected to be bathed and the tilaka is marked over the body before submitting to God in a state of goodness and sincere devotion. Lack of it all only denoted emptiness. In the olden days, a variety of tilaka marks were borne by men. The Skanda purana and the Brahmavaivarti purana mentions the usage of different tilaka marks. Each mark had a significance attached to it. A person putting the trisula mark would hold the pradhana principle that is composed of Brahma, Vishnu and Shiva, a white disc mark denoted the Sun and full of Brahman lustre. There is also mention of the marks of the conch, the disc, the mace, the lotus etc. The Skanda purana mentions of a crescent mark that is worn by couples at the time of marriage. It is believed that this mark is conducive to the growth of male progeny and the destroyer of all sorrows and diseases. The colour of these forehead marks were believed to be symbolic too. The black colour was for pacification, red for control, yellow for wealth, white for release (moksha) and so on. The Svetasvatara upanishad mentions that the colours also represent the three forces as red for rajas, black for tamas and white for the cohesive sattva. In more recent times, we come across, men having a Saad on their forehead made of jaggery. This Saad was kept while the afternoon. meals was consumed. It points to the social etiquette of these times, because if a person calling on someone during day hours, without bearing the Saad indicated that he had not eaten, and a meal would be arranged immediately. The nama of the Hindu custom worn by several men is not a caste mark but merely pointed out as to which sect or faith the person believed in (Shaiva or Vaishnava). The followers of Vishnu wear both the V-shaped and Y -shaped mark depending on their sect. The Madhvas or the people belonging to the Visishtadvaita sect wear the caste marks known as Mudra (the design of Sri-chakra) below their temples using a kind of earth called Gopi Chandana. The Saivaites wear horizontal lines made of sandalwood paste or ashes. While the namas are always worn to designate one's sect, the kumkum is used by women of all sects. Today, over indulgence in westernisation and the thought that it could be cumbersome and embarrassing, several men have abstained from wearing the tilaka or the nama marks but for few religious men. Even women have begun to treat the kumkum more as a beauty mark and try to match its design with their clothes. But it certainly is an indelible fact that these forehead marks especially the kumkum in the form of powder or Bindhi are known to emit a radiance, a sense of good feeling to the beholder and to the person who wears it. Apart from serving for identification they represent a culture that is unique and unfamiliar anywhere else in the world and such natural carriers certainly call for more wearers. Deccan Herald 15th Feb 1997 Author Dr. Veena shekar, is an art-historian and web designer. A voracious and avid reader of various subjects, Veena Shekar developed a keen interest and passion for art and art related subjects. This passion was enhanced further when she went to Paris in 1990, where she studied a few art courses. Her two years stay in the art-loving country immensely helped her pursue her career in the field of art-history. Shekar holds a double post-graduate degree in English Literature and art-history and a post-graduate diploma in Journalism. She was awarded doctorate for her thesis " A study of historical paintings of karnataka between 1780 and 1830" in the year 2002. She is currently working on the manuscript for publication. As a visiting lecturer at many art institutions of Bangalore, Veena Shekar’s contribution to art in general is note-worthy. She has been contributing to various magazines, newspapers and journals on human interest and art related topics and has designed a few art related websites worthy of mention.She is presently residing in Bangalore, India. Send mail to Dr. Veena Shekar Visit Veena shekar's Homepage