The people of India have expended
limitless energy and creativity in the invention
of ornaments that celebrate the human body. Adorning
the visible, material body, they feel, satisfies
a universal longing for the embellishment of its
intangible counterpart, namely the human spirit.
Indeed rarely is a traditional
Indian ornament simply decorative and devoid of
inherent meaning or symbolic value. Symbols found
in Indian jewelry act as a metaphorical language
communicated from the wearer to the viewer. Such
a jewelry is created from an infinite reserve
of symbolically significant forms and images,
some obvious, some subtle, and some whose meaning
is forgotten.
Complementary to such thought
is the conventional view where the graceful form
of a woman is said to epitomize the ideal beauty
and mystery inherent in nature. Thus befittingly
each and every part of the feminine physique including
the head, torso, limbs, and between the appended
parts - have consistently been used to support
ornaments, often in ingenious ways. The Indian
idea being that only things covered with ornaments
are beautiful. Poetry must overflow with rhetorical
ornaments (alamkara), metaphors, alliterations,
and other musical effects. The verb alam-kara,
"to adorn, to decorate," means literally
"to make enough": for the simple appearance
without ornament is "not enough"; it
is poor, disgraceful, shocking, except in the
case of an ascetic. Hence the stress on adornment
of the women, who are but the poetry of nature.
Ornamentation not only serves
to please the eyes of the beholder but also fulfils
an auspicious purpose. The impulse to adorn stems
from a deep rooted sensibility to mark every occasion
of life with auspicious symbols, designs and figures
to obtain good fortune and protection from evil.
Thus a fully bedecked woman evokes in the viewer
a deep and ingratiating feeling of tranquil contentment,
springing from an intuitive realization that evolving
before him is an image of perfect beauty, symbolically
conveying the richness and completeness which
is but natural to nature.
The ancients who translated
the abstract nuances of Indian philosophy into
images of everyday reality went even further and
canonized the adornment of the female form into
sixteen different ornaments (solah shringar),
covering her entire being from the head to toe.
The choice of the number sixteen too is not without
significance. It is a significant number among
the Hindus, and corresponds to the sixteen phases
of the life of the moon, which in turn is connected
with a woman's menstrual cycle. This is another
pointer to the feminine physiognomy being a microcosm
of the rhythms of natural processes. Further a
woman of sixteen is considered at the peak of
physical perfection in her life. At this stage
of her life the aspect of delight is most pronounced.
Her nature is to play, seek new experiences, and
to charm others to her. Her innocence attracts
to her all that is true and good. Indeed it is
common for deities to be described as eternally
sixteen years old, which is considered the most
beautiful and vigorous human age. In fact an important
goddess is named after the Sanskrit name for sixteen
(Shodashi), and is visualized as having all the
above mentioned qualities.
The sixteen ornaments said
to make up the standard repertoire of feminine
adornment are:
Bindi
The bindi is a small ornamental
dot placed at the center of the forehead, between
the eyes.
The word itself is derived
from the Sanskrit bindu, meaning dot. Metaphysically
speaking, it is the dimensionless point of infinite
potential from which has originated all manifested
existence. It is further said to signify the mystical
third eye, an invisible organ of spiritual perception
and second sight, traditionally said to be situated
at a point little above the place where the eyebrows
meet. It is regarded as the channel of supreme
wisdom and sublime intuition, and is said to confer
divine knowledge. Here it is relevant to note
that the two eyes are often likened to the sun
and moon. The third symbolic eye is then said
to represent fire. The two eyes are capable of
seeing only the past and the present, but the
third eye gives a potency to the perceptive powers
making them see the future also.
Interestingly at some places
men too adorn their foreheads with this 'third
eye', but predominantly it remains a feminine
trait.
Sindoor (Vermilion)
Sindoor is a deep, rich blood-red
powder applied in the parting between the hair.
Exclusively used by married women it represents
their marital status. Significantly this same
powder is an essential ingredient in Hindu rituals
(puja). In relation to women the notable characteristic
is the color of this powder. A vital red it is
symbolic of fertility and the regenerative power
inherent in women. At a practical level (especially
in India where marriages are said to be made in
heaven), it proclaims in loud terms the status
of a woman committed irrevocably, and as passionately
as the color of her sindoor, to a single individual,
and thus being out of bounds for any other.
Tika
The
tika is a composite ornament composed of a chain
with a hook at one end and a pendant at the other.
It
too like the sindoor is worn in the parting of
the hair.
The hook holds the tika at
the hair end, while the pendant falls on the exact
center of the forehead. This place is believed
to house the 'ajna' chakra. This chakra stands
for preservation. Thus by adorning herself with
this mark, a woman reiterates her status as the
preservator of the order of the human race. Significantly
this chakra is visualized as having two petals,
and its presiding deity is Ardhanarishvara, the
half-male, half-female androgyne. This represents
the ultimate union where no dualities exist. In
Tantric terms this signifies the union of the
male and female elements in nature, at all levels,
including the physical. Hence this ornament is
specifically associated with women about to undertake
the vows of matrimony, uniting with her mate,
and holding within herself the potential to perpetuate
the genealogy of the new clan she is thus becoming
a part of.
Anjana (Kohl)
"The eye could
never have beheld the beautiful had it not been
made beautiful first"
--- Plotinus
Ordinarily the eye is
a comparatively neutral and receptive organ, but
when intent is added to the look it can charge
the glance with irresistible power. Every feeling
of the heart is transmitted through the eye. The
eye can communicate feelings of reverence and
sympathy, or love and lust.
The Indian poet usually
longed to sink "in the depths below depths
of the eyes of his beloved." Most poetic
similes about eyes in Indian poetry are drawn
from nature. Eyes are like the narcissus, the
almond, the lily, or "like fishes with their
long, flashing glide."
A
morning bath is a popular habit in India, and
sprinkling the eyes with cold water is a necessity
on account of the tropical climate. But there
exists a popular powder kohl (technically the
sulfide of antimony), also known as kajal, which
has been used from time immemorial both to brighten
and strengthen the eyes, and to darken the eyelashes.
A silver or ivory pencil, or
a fine camel's hair brush is dipped in the kohl
and passed along the borders of the lids with
a light and gentle hand, taking care to carry
the line of shading a trifle beyond the angle
of the eyes. This will cleanse the eyes and give
them a large, almond shape, delightful to look
at.
"A fair maiden's transformation
into lovely womanhood, when she comes of age,
is indicated by the transfer of restlessness of
her feet to her eyes, the orbs whereof keep always
on the move," says an Indian sage. "When
the slow music of time begins to sing a sad song
into a woman's ears towards her prime, the flashing
of the eyes is then a very good exercise, winking
an excellent one."
Thus the highlighting of the
eye is an acknowledgement of the maturing of a
young girl in all her aspects, though the symbolism
remains primary physical. Often a poet would address
a heroine's eyes 'as deep as the sea'. Outlining
with kajal establishes two discernable banks to
these fathomless oceanic streams.
The erotic sentiment dominates
the adorning of the eye. Large eyelashes, it is
believed, make large eyes.
Therefore
the Indian artist drew long spears of hair for
the eyelashes he painted.
Also kohl, freely applied,
will make each lash not only dark and bright but
also so long that it is seen in full even when
the face is turned aside.
The eyes' size is increased
by drawing a short, fine pencil mark outwards
from the corner of the lids where they join. Thus
is created that sharpness in the glance that can
let an Indian poetess say with pride to her lover:
p>
'My eyes are not eyes, beloved,
but arrows of light;
My eyebrows are not eyebrows, but swords for your
Destruction.'
The easiest way of preparing
kohl at home is by burning a cotton wick soaked
in mustard oil and then collecting the smoke that
arises in a silver spoon. A silver pencil is then
dipped into it and passed along the eyelids. This
is said to blacken the eyes and preserve them
against the sun and air. The eyes change to moonstones,
brilliant, glinting and flashing fire, as, in
the words of Kalidasa, "they are weighted
over by the eyelids and half closed under the
deeps of their palaces."
Nath (Nose Ring)
The nose was once believed
to be exclusively concerned with smell, but is
now established to be connected with emotional
responsivity also. In fact occultists go further,
believing it to be the 'seat' of the sixth sense.
Further there is known to be
a close connection between the nose and the sexual
reflexes. It is a medically established fact that
swelling of the nasal spongy tissues and congestion
of the nose occur during sexual excitement in
human beings. The nasal passages of women swell,
and occasionally bleed, during menstruation. Indeed
Wilhelm Fliess (d. 1928), friend and associate
of Sigmund Freud, found a relationship between
the nose and the female sexual apparatus, and
held that certain gynecological complaints could
be cured by cauterizing the appropriate parts
of the nose.
In males there is believed
to be an affinity between the nose and the virile
member, and from ancient times it was thought
that a large nose was a sign of a large male sexual
organ. Similarly, a woman with a little nose is
believed to have a small sexual apparatus. In
a parallel custom, in a number of north European
countries, and in England under the law of Canute
(d. 1035), the punishment for adultery for both
men and women was amputation of the nose, not
only to cause disfigurement and loss of physical
attractiveness, but also to symbolize punishment
for the offending genitals. In India, the deflowering
of a virgin is symbolically referred to as the
removal of the 'nath' or nose ornament.
Thus the Indian aesthetic befittingly
adorns the female nose with an inspired ornament,
which highlights its amorous connotations. Indeed
amongst the many jewels with which the Indian
woman adorns herself, the nose ornament (nath)
is the perhaps the most seductive. 
Ornaments
for the nose take on a variety of shapes ranging
from tiny jeweled studs resting on the curve of
the nostril, to large gold hoops that encircle
the cheek with graceful pendant pearls dangling
provocatively just above the upper lip.
One
can imagine the ornament making a very soft, sighing
sound, like breeze moving over pipal leaves, as
the head moves.
The length and position of
nose ornaments often came in the way of comfortable
eating, prompting the Abbe Dubois, a Christian
missionary who lived in south India in the 19th
century, to observe in amazement: "The right
nostril and the division between the two nostrils
are sometimes weighted with an ornament that hangs
down as far as the under lip. When the wearers
are at meals, they are obliged to hold up this
pendant with one hand, while feeding themselves
with the other. At first this strange ornament,
which varies with different castes, has a hideous
effect in the eyes of Europeans, but after a time,
when one becomes accustomed to it, gradually seem
less unbecoming, and at last one ends by thinking
it quite an ornament to the face."
An integral part of traditional
bridal jewelry, many aristocratic families have
a special nath brought out at weddings to be worn
by the bride. This is now perhaps the only occasion
on which today's urban woman wears the nath, evoking
its powerful seductive charm.
Necklace (Haar)
The
neck is an important occult center. Because necklaces
are often worn near the heart, they can be used
to work on emotions, or to attract or strengthen
love. By wearing a necklace of stones for example,
it is believed that we are binding ourselves with
their powers. From earliest times protective pendants,
necklaces and strings of beads, as well as elaborate
ornamental collars, were worn around the neck
to bring good luck and avert the evil eye.
Indeed among all the kinds
of jewelry, necklaces have had the maximum number
of magical properties assigned to them. In some
cases, they were designed as amulets or charms
to insure good health or wealth to the wearer.
Such necklaces could be very simple, with a gem
or carving carrying the burden of the charm, or
they could be very elaborate, glittering with
gold and gems.
In all probability the form
of the necklace was visualized with the explicit
purpose of distracting the eyes of the viewer
from the wearer's face and eyes - and thus protecting
the wearer from the dangers of the mysterious
Wicked Eye. The necklace hence also served as
a protection against any attempt at hypnotizing,
since such an effort would have had to start with
a concentrated gaze at the wearer's face, an attempt
which the necklace effectively undermined. A necklace
in this manner acted as a powerful restraint against
undesirable gentlemen trying out their charms
on virtuous maidens.
Most
likely, the predecessor of the necklace in India
was a fresh flower garland, to which there are
a number of references in literature. One of the
more important designs of the necklace is known
as champakali, i.e. 'buds of the champa (Michelia
champaca) flower'. Many others derive inspiration
from the jasmine flower, the fragrance of which
has strong erotic connotations.
Even today, despite the emergence
of paper and plastic flower garlands, the custom
of offering fresh flower garlands has retained
its charm.
Karn Phool (The Ear Flower)
From
earliest times long ear lobes have been regarded
as a sign of spiritual development and superior
status. Among the distinguishing marks of the
Buddha, and a sign of his greatness, were his
large ear lobes. Homer (d.c. 800 BC) and Aristotle
(d. 322 BC) reputedly also had the same characteristic.
There
is believed to be a close connection between the
ears and the sexual reflexes. The fleshy ear lobes,
absent in all other primates, are not, as they
appear to be, useless appendages, but erogenous
zones which in sexual excitement become swollen
and hypersensitive. In ancient times severed ears
were offered to the Mother Goddess as a substitute
for the male organs. In Egypt devotees offered
their ears to the goddess Isis, and till the early
decades of the Christian era, sculpted ears were
offered at the shrine of the Great Mother in other
parts of the Middle East.
The boring of ear lobes has
been widely practiced in all parts of the world
from early times. The purpose of this operation
is not only to facilitate the wearing of earrings
for beauty, but to protect the wearer from evil
influences, the adornments serving as talismans.
The practice was also thought to have some therapeutic
value. In certain places, ear piercing was believed
to be good for the eyes; it also sharpened the
mind and drew off 'bad humors'.
One historian attributes the
piercing to the desire to punish the ears for
overhearing what they should not hear. The earrings,
in turn, were the consolation for the pain and
suffering. It was believed that the more decorative
and expensive the earrings, the greater the consolation.
Early sculptures demonstrate
that ear ornaments were an important constituent
of Indian female attire. To the married woman,
the ear ornament was (and is) auspicious. Additionally
a woman's wealth was conspicuously visible and
the ear ornament became a statement of her status
and power; elongated ear lobes were considered
a sign of beauty and wealth - the longer the lobe,
the greater the woman's wealth. By appending ornaments
to almost every part of the ear, the woman also
ensured a continuous state of mental and physical
well being. Indeed recent studies have identified
the ear as a microcosm of the entire body - "the
point of vision in acupuncture is situated in
the center of the lobe."
The Indian woman's bejeweled
ear offers a sight that prompted the exclamation:
"European ladies are content with one appendage
to each ear, while the females of Hindustan think
it impossible to have too many."
Ancient Prakrit and Sanskrit
literature describe girls wearing fresh flowers
in their ears. A range of floral earrings of gold,
silver or precious stones that have been popular
over the centuries in India suggest that the forms
of flowers were, almost literally, translated
into precious jewelry. Most ear ornaments are
virtually bunches (jhumka) of fruits and flowers.
A particular type, known as the karnphul, i.e.
'ear-flowers' is considered particularly auspicious.
These are an important, universal, large, round
metal flower-form earring, with a central stud
at the back being the equivalent of a flower stem.
The choice of the flower as
the inspiring shape behind this conception is
not without significance. Flowers in addition
to being natural erotic stimulants, by virtue
of their association with Kama, the god of love,
are also essentially a concise symbol of nature,
condensing into a brief span of time the cycle
of birth, life, death and rebirth. In addition
it also reflects gentleness, youth, spiritual
perfection and artless innocence, qualities which
are but the fundamental attributes of feminine
character.
Often they are so heavy that
the ear lobe dilates to the extent that the long-hanging
earrings worn in the widened orifices touch the
shoulder.
Foreign travelers were fascinated
by the sight of elongated ear lobes and have recorded
their astonishment. Travelling in Kerala, Edward
Terry commented on this practice among 'gentile'
women: "The flaps or nether part of their
ears are bored, when they are young, which hole
daily stretched and made wider by things kept
in it for that purpose, at last becomes so large,
that it will hold a Ring (I dare boldly say, as
a large as a little saucer) made hollow on the
sides for the flesh to rest in." Amusing
stories of ear holes the size of large eggs and
plates, through which many a bold individual attempted
to pass his arms abound.
Henna (Mehndi)
'When she puts henna on
her hands
and dives in the river
One would think one saw fire twisting
and Running in the water.'
-- Dilsoz, 18th century AD
Unlike real tattoo, which is
permanent, some decorative patterns created on
the skin with stain or dye are not immediately
removable but, depending on the dye strength,
can last for three or four weeks. Mehndi, the
Hindi term for "henna," is one such
temporary tattoo.
Men agree that mehndi patterns
on a woman evoke thrilling, erotic sensations,
perhaps because they associate mehndi with a maiden's
initiation into mature womanhood.
The custom of applying elaborate
mehndi patterns to the hands and feet is a symbol
of satisfaction and happiness in marriage among
the Hindus. This belief derives partly from the
dye's red color, universally considered to be
auspicious; and which is also the color of a bride's
dress. Mehndi is commonly applied to propitiate
Ganesha, the elephant-headed god, son of Shiva,
who overcomes obstacles and is always invoked
to attend a Hindu marriage ceremony. It is also
considered very dear to Lakshmi, goddess of wealth
and fortune. Indeed if ever there was a plant
associated with luck and prosperity, it is the
henna bush.
Mehndi has a great significance
in all Eastern wedding traditions, and no wedding
is complete without the decoration of the bride's
hands and feet - in many cultures on both the
front and back of the hands right up to the elbow,
and on the bottom half of the legs.
Mehndi is carried out on a
bride's hands and feet the night before the marriage
celebrations begin, often known as the 'mehndi
ki raat' or night of henna, raat meaning night.
A party of the bride's women relatives spend several
hours at this joyful task, during which they sing
appropriate songs, teasing her about her future:
"Oh, how sleep is hard
to come by, once her hands have been adorned with
the mehndi of her beloved."
"Oh, friends, come and decorate my hands
with mehndi, write my beloved's name. Just see
how auspicious this occasion is."
"Everyone's fate is held within the lines
on our palms, it is on these palms that mehndi
paints such beautiful pictures."
The mehndi night is something
like a hen night in the West, with all the bride's
female friends and relatives getting together
to celebrate.
For the bride, the process
is therapeutic in calming and preparing her for
the event.
Mehndi signifies the strength
of love in a marriage. The darker the mehndi,
the stronger the love. The color of henna specifically
has symbolic significance because red is the color
of power and fertility. Many brides believe that
the deeper the color of the mehndi, the more passionate
the marriage. The design itself is important,
too. Sometimes the groom's name is incorporated
into the bride's complex mehndi tattoos, and it
is a delightful task to try finding it - often
taking up hours to accomplish.
After marriage, mehndi may
be applied to a woman on any auspicious occasion,
such as the birth or naming of a child.
Mehndi designs are an aspect
of folk art requiring a well-developed decorative
sense. Though the community perpetuates old patterns,
innovative designs may also be introduced, which
gradually enter the communal design repertoire.
But an interesting aspect is that whatever be
the innovation or tradition, only vegetative motifs
are used. Thus henna is an attempt to symbolically
link women with the vegetative and organic nature
of Nature, along with its associated concepts
of birth, nourishment, growth, regeneration etc.
Additionally, the purpose of
tattooing is mainly apotropaic: to it is credited
an evil-averting, magical function. Especially
in animist societies, the tattoo acts to repel
the forces of evil believed to be constantly active
and attempting to gain advantage over the unwary,
unprotected individual, causing misfortune, illness,
or even death. In India, it is believed that an
auspicious occasion like a marriage requires an
extra protection against evil forces. This is
because such occasions are celebrated with much
pomp and show, amidst a high profile, making the
probability of their being noticed by negative
forces very high. The application of henna is
thus an attempted safeguard against any such dark
influences.
As well as being a lavishly
colorful cosmetic, Mehndi is also supposed to
have many healing qualities, many herbal doctors
still recommend the use of Mehndi for some ailments,
such as dry skin and to hasten the healing of
cuts and scratches. It also acts a hair conditioner
when applied on the head and is also said to stop
hair loss by strengthening the roots of the hair.
According to Loretta Roome,
a henna expert, in societies where mehndi is traditionally
practiced, marriages are often scheduled to coincide
with ovulation. "That's part of the intention,"
she said. "It's a fertility rite. The
henna is the color of blood, representing the
breaking of the hymen. In fact, Muslims call mehndi
'love juice.'"
Bangles (Wrist Ornament)
"Bangle-sellers are
we who bear
Our shining loads to the temple fair.
Who will buy these delicate,
bright Rainbow-tinted circles of light?
Lustrous tokens of radiant lives
For happy daughters and happy wives."
-- Sarojini Naidu
One of the oldest art objects
in India, the bronze statuette of a dancing girl
excavated at Mohenjo Daro epitomizes the antiquity
and the universality of wrist ornaments in India.
She stands in the nude with one arm at her hip,
the other arm completely weighed down with a collection
of bangles. From then on the variety and shape
of wrist ornaments spanned the gamut of nature'
s materials and human creativity.
Indeed
more than any other single jewelry form in India,
the bangle has been crafted from the widest variety
of materials. Ancient fragments testify that bangles
were made from terracotta, stone, shell, copper,
bronze, gold, silver and almost any material that
lent itself to craftsmanship. Lac and glass bangles
in a plethora of colors are a common sight in
India even today. From simple plain circlets of
metal, to ones decorated with etched and repousse
designs, to fabulous examples with bird and animal-head
terminals and studded with gems, these circlets
symbolize the potent energy of the sun.
The sheer variety of wristlets
of India is matchless anywhere in the world. Besides
being a mark of a married woman, these have enormous
romantic and amorous connotations. Often the Indian
poet would indicate a woman pining for union with
her husband or lover by bracelets slipping from
her wrist due to her becoming thin in the agony
of separation from him. The tinkling sound of
women's bangles is full of significant messages
expressing her presence, her wish for attention,
her anger or desire to exchange glances.
An important concept associated
with this feminine ornament has been responsible
for its continuing popularity. It is a universally
accepted idea that bangles identify the wearer
as a married woman, reiterating her status as
the beloved of her husband and the honored mother
of a family. To the Indian woman, ornaments for
the wrist have always been significant emblems
of marriage. Even when changing bangles, a woman
never allows her arm to be completely bare. A
simple string or even the end of her sari is wrapped
around the arm, until the new set is worn. Undoubtedly,
the most popular bangles are those made of glass,
worn by women of all classes of society, rich
and poor. Girls may also wear them, but, for a
married woman, their symbolism makes them a necessity.
Generally between eight and twelve glass bangles
are worn on each wrist, twenty-four in two matching
sets.
Armbands (Baajuband)
The upper arm is the place
where amulets strung on a black or red thread
are often tied to keep the evil eye away.
It is also the spot where richly
decorated armlets are worn. Unlike wristlets,
the armlets need to be shaped in such a way that
they remain in position through pressure. For
this structural requirement, most armlets are
made by suspending one or more talismanic pendants
on a string or attaching to a strap which can
be tightened and knotted as per the wearer's requirement.
Depending
upon her community and her marital status a woman
could wear a single piece of ornament, or cover
the entire upper arm, from the elbow to the shoulder,
with armlets made up of a variety of materials
including gold, silver, ivory or shellac.
The
use of the armlet is consistent with the Indian
aesthetic which believes that anything beautiful
must be adorned, or in other words anything unadorned
is devoid of beauty. In this view point, the physical
form of the female by virtue of being one of nature's
most spectacular creations is an ideal playing
ground for ornamentation and adornment. Thus the
region between the elbow and the shoulder is given
a highlighted consequence, making it an important
part of the whole which is composed of a fully
bedecked woman, according to the canons of the
solah shringar. A perfect example of a complete,
flawless beauty, if there ever existed one.
Arsi (Thumb Ring with Mirror)
The simple ring was not ignored
in the vast array of larger ornament forms. Fingers
are believed to function as a medium between the
physical body and the spiritual body. Rings thus
are an important part of the physio-metaphysical
value of jewelry.
The
thumb is the king of the palmar kingdom. According
to anthropologists, the development of the thumb
marked an important step forward in the anatomical
and cultural evolution of the human race. In Chinese
palmistry the thumb is considered so important,
that often the whole character, state of health
and future are read from the thumb alone. In Western
Classical world the thumb was regarded as sacred
to Venus and in hand-gestures it still has a phallic
significance.
This special ring with a round
format has set in its center a small, usually
round but sometimes heart-shaped mirror. The ring
part, meant to fit snugly round a thumb, is broad
so as to bear the weight of the rest of the piece.
Among all the rings worn on
the hand, the arsi occupies a special place in
a woman's heart, not only because of its impressive
size, but because of the function it performs.
With the mirror set into it, the young maiden
wearing it (most often a bride), can look and
check, by just turning the thumb, if all that
was adorning her head, or her hair, was in place.
Thus this unique piece of jewelry acts as a sentinel
over the other ornaments contributing their efforts
towards the embellishment of both a woman's physique
and psyche. Much delight is associated with this
ornament. Understandably, therefore, it features
in songs and proverbs; and one comes across it
in paintings too.
Hair Style (Keshapasharachna)
Hair
is regarded in occultism as one of the most extraordinary
parts of the body. It belongs to the element of
earth as it is solid and tangible; to the element
of water since it is free and flowing; to the
element of fire since it fed from the furnace
of the brain; 
and
to the element of air since it is light and can
be blown by the wind. Hair is both living, since
it grows, and dead since it is without sensibility.
It has its own life, grows more rapidly than anything
else, and continues to grow after the death of
the body. As such it constitutes a link between
this world and the next.
Hair
is a source of vital strength and magic power.
It forms a crown encircling the head, the most
sacred part of the body and is full of personal
mana. It was a substitute for the whole body,
and its sacrifice to the deities was an acceptable
surrogate for a human victim. In Byblos in Phoenicia
women had the alternative of sacrificing their
virginity to strangers in honor of the goddess
Ashtart, or shaving the head and offering her
their hair.
The
hair of women differs from that of men and was
supposed to have great attractive power over men
and nature. It was a temptation to the male and
women were enjoined to visit temples with their
hair covered so as not to distract the devout
men present in the same place. Indeed witches
knew the power that lay in their hair, and tossed
their loosened tresses in ritual dances as a love
charm, or bent down and shook their hair while
uttering a curse! In many places in Europe the
bride used to go to her wedding with her hair
hanging freely down, but after the ceremony it
was either cut a little, to signify the curtailment
of her power and independence, or was bound up
to symbolize her new responsibility. Letting one's
hair down still implies behaving in a free and
unrestrained manner.
Elaborate coiffures have been
the hallmark of women through every era in Indian
history. The ritual of weekly oil bath and the
preference for long black tresses still survives
in India.
Oiled,
combed and plaited, the hair is adorned with garlands
of jasmine buds that bloom in the hair, radiating
their heady perfume in a mesmeric spell of seduction.
Arranging the hair in three
strands is considered the most auspicious. According
to mythology, these three strands of a woman's
plait are intended to symbolize the confluence
of India's three most venerated rivers - the Ganga,
the Yamuna, and the Saraswati - or the trinity
of Brahma, Vishnu and Shiva. Yet another legend
states that one strand represents the father's
house, one, the in-laws', and the third is the
woman herself who unites the two.
Classical literature is replete
with analogies of the swinging, lithe, snake-like
form of a long plait. Chandi Dasa, the poet, describes
Radha's hair:
"Like stilled lightning
fair face
I saw her by the river.
Her hair dressed with jasmine,
Plaited like a coiled snake."
Often the ornamentation is
a simplification of the elaborate crown worn by
the deities, a further reiteration of a divine
association.
Head
ornaments are a category of Indian jewels that
are fast vanishing. The first to fall prey to
the goldsmith's melting crucible, they are now
popular largely as part of bridal attire and the
traditional ornamentation of classical dancers.
Kamarband (Ornament That Binds the Waist)
'So tender is her slender
waist
It bends when a girdle of flowers is placed'
-- Tirrukural (South India)
The English word 'cummerbund'
and the German 'Kummerband' for waist-band are
derived from the Persian kamar, waist, and bandi,
a band. The word is prevalent in most northern
Indian languages. The immense popularity of waist
ornaments is evidenced by a large number of temple
sculptures, frescoes and miniature paintings ranging
from the Indus valley civilization till today,
in an unbroken tradition.
Indians have always found the
middle region or midriff of the female sensationally
tantalizing. The quintessential garment of the
Indian female the sari is designed so as to give
a scandalous view of the midriff while preventing
from the vision any other significant part of
the anatomy.
Thus befittingly there exists
an impulse to adorn it with an ornament exquisite
enough to highlight its seductive allure. Hence
came about the waist belt, a graceful extension
of the girdle, which serves a dual purpose; it
restrains the lower garment in place and is yet
another embellishment to the feminine form.
Designed to be held on the
hip, it holds together the folds of the sari,
especially in situations where women engage themselves
in heavy movements like dancing. Its presence
is evident in almost every female image throughout
Indian history.
The waist ornament is always
made up in a manner so as to conveniently hold
a bunch of keys. These signify the keys to a fresh
bride's new home, and her assumption of a new
position of authority, in a domain where her writ
runs large. Often it is handed over by the mother
in law to the daughter in law, symbolically delivering
over the reins to the new generation.
Anklet (Payal) and Toe Rings
"Hail
to that foot of the lusty beloved
which hits the head of the lover, that foot which
is adorned with red paste and jingling anklets
is the banner of love and which is worthy
of adoration by inclining one's head."
-- From the 5th century drama, Padataditakam (Hit
by the Foot)
Feet are the support of the
entire body and therefore accorded great significance.
Indeed the foot is the human pedestal, in direct
contact with Mother Earth, absorbing vigor from
her powerful emanations.
Paradoxically in the Indian
tradition, the feet are considered the humblest,
most impure, and polluting part of the body, and
therefore command respect by those who surrender
their ego to the venerable. Humbling oneself by
touching the feet of one's elders or prostrating
oneself before them or worshipping the feet or
sandals of a deity or a holy man are expressions
of respect.
It is mentioned in the Ramayana
that when Lakshmana was asked if he recognized
the jewels recovered in the forest as belonging
to his brother's wife Sita, he replied that he
recognized neither the armlets nor the earrings.
Only the anklets were familiar to him, since his
gaze with reverence appropriate to the times,
never strayed above Sita's feet.
By
the same token of expression of submissiveness,
a lover is often portrayed in art or described
in literature as falling at his beloved's feet
or admiring them with gentle caresses:
"The hair of the lover,
who has fallen at the
feet of his beloved, are entangled in her anklets,
which
indicates that he has given up his pride."
-- Prakrit Pushkarini
The feet of a nayika, worthy
of a lover's affection, are abundantly adorned
with anklets. He admires her feet by caressing
them as a demonstration of his ultimate devotion
to her.
It was in this context that
Indian painting, drama, and poetry referred to
men treasuring the touch of the foot of their
beloved, and women lavishing great cosmetic attention
to their feet and adorning them with as much care
as they would take to beautify their face. The
tender foot then becomes the symbol of affection
and sensual desire, and plays an effective role
in love-play.
In Sanskrit, the anklet is
known as 'nupura,' etymologically the word nupura
is connected to antah pura, the female apartments
in a palace, which in the ancient times was a
mysterious place, holding within itself the promise
of a thousand pleasures. Indeed poets imagined
that with her every step, the heroine's tinkling
anklets beckoned her lover.
In a charming aside, it is
worthwhile mentioning here that women in some
tribes are given foot bells, chains, and tinkling
anklets, not only to frighten snakes away when
they move outside at night, but in order that
their husbands may know where they are when they
cannot be seen!
The charm of the heroine's
rhythmic swinging of her body and wavy skirt is
enhanced by the jingling sounds of the anklets
(small tinkling bells are almost always attached
to anklets). These sounds inspired Indian poets
to describe the motion of a nayika, the heroine
in romantic Indian literature, as bewitching and
seductive. The association is that she has bedecked
herself with the most wonderful jewelry in anticipation
of a rendezvous with her lover in a secluded grove.
Classical Indian dance too
is not untouched by the allure of the anklet.
In most Indian dances, rhythmic footwork is one
of the most important elements, in combination
with gestures of the arms, hands, and eye movements.
The various classical texts on dance, such as
the Natyashastra, provide elaborate details on
the positioning of the foot and its contact with
the ground, the toe and ball of the foot touching
the ground or only the heels or big toe doing
so. The rhythmic stamping of the foot in its various
positions generates forth a rich variety of charming
harmonies from the anklet, contributing not a
little to the overall dance performance, suggesting
subtle erotic undertones. 'Music of the ankle
bells" is often how the ancients described
it.
On a practical level, Amongst
tribal women, long tubular bands of brass encircle
the ankle all the way up to the calf to protect
them against snake bites while walking through
long grass.
Strictly speaking, golden anklets
are forbidden. This is because gold symbolizes
Lakshmi, the Goddess of wealth, and it is considered
sacrilegious to wear it on one's feet.
Finally on the feet are worn
toe rings. Often these may be attached to the
payal itself, with chains linking them.
Perfume (Itra)
"Refine your soul,
Refresh your thoughts,
Recharge your emotions."
The legendary reputation of
Indian perfumes is upheld if we contemplate the
variety of scents manufactured and used throughout
the country. All scents are ascribed to divine
origin, and it is fairly certain that perfume
was prepared in India, as early as the 15th century
BC.
Traditionally perfumes made
from flowers were preferred, their fragrance complimenting
and accentuating the characteristic, sensuous
body odor emanating naturally from the female
persona. Through the developing centuries, the
use of perfume has been raised to a fine art.
There are perfumes for different hours of a day,
perfumes to suit each dress, fragrances to reflect
the personality of different types of women according
to their color, build, character, age, and even
the sexual drive. The use of certain fragrances
is also supposed to heighten the spirit of certain
seasons, thus reflecting the moods of nature.
For example, there is the haunting, heavy scent
which reproduces the smell of the earth after
rain; a fecund, earthy, fleshy and carnal essence,
confirming the identification of women with Mother
Earth. Another known as kasturi is subtly conducive
to rest in the tense, heavy Indian summer. It
is believed to go with yellow and orange robes,
and evokes the proper mood of love for a newly
wedded couple. Similarly the scent of saffron
(kesar) is intoxicating in the extreme and evokes
an ecstatic response like that produced by the
heady influence of wine.
The Indian woman applies her
perfume discreetly and cunningly, to her clothes,
the lobes of her ears, her eyebrows, the palms
of her hands, and other parts of her body with
an artful expedience. This exercise requiring
ingenuity is one which gives expression to her
true character.
The Bridal Dress
'When in your floating robe,
Woven with red silk and golden,
In your floating robe
Held around your hips
By a broidered belt,
Showing all curves
Of your reckless body
You pass me by,
I feel come to me
A wild and mad desire.'
- - From the Burmese of Asmapur, 19th century,
AD.
The ancient sculptures of Sanchi,
Amravati, and Khajuraho show the Indian woman's
robe to be light and falling in beautiful free
folds from the hips, to below the knees. There
are no unhealthy, restrictive collars, and nothing
to impede the free circulation of blood. The dress
facilitates free body movement. This dressing
tradition continues to the present day.
The bridal dress has a quasi-sacred
status. It is nearly always of a deep red color.
Red is considered auspicious
because it has several emotional, sexual and fertility-related
qualities, making it a suitable color for brides.
It also signifies the virginal status of the bride.
Indeed in some traditions, the nuptial bed is
inspected after the first night for traces of
blood, which confirm that the lady in question
was a virgin before marriage. In India it is stressed
that virginity should be a gift from a wife to
her husband on their first night together.
Further highlighting its import
is the weighty embroidery embellished with various
motifs and metaphors all emphasizing the fertility
symbolism and vegetative associations, linked
to creation and growth.
Sometimes minutely ornamented
all over, the view of a new, bedecked bride draped
in this garment, colored the color of passi on,
is a breathtaking one.
The bridal garment is without
exception extremely rich in all aspects, reiterating
the significance of this momentous event in the
life of an individual.
Conclusion
Of
a richly sensuous disposition, the ancient people
of India insisted that their sensuality be refined
with thought:
'In restless brow and twinkle
of the eye,
In smiling modesty and gentle tones,
In graceful gait and posture, woman owns
A beauty parlor and an armory'
- - Bhartihari (c. 600 AD)
Indeed woman is beauty at its
active and sportive best. The ancients found in
a woman's walk the same majestic yet lithe and
graceful rhythm as in the steps of a peacock.
In the playfulness of a young maiden was discovered
the charm of a deer leaping across a jungle stream.
An alert woman, with her necklaces resting on
her full breasts, was compared to a sloping hill
with a sunlit cascade coursing down its sides.
It was believed that just a
woman beautifies her home so should she her body.
Such a combination was supposed to invite blessings
and prosperity from the gods.
If it is true for humans that
to beautify the mind is to beautify the body,
the converse is equally true: to beautify the
body is to beautify the soul. Creative Indian
psychology nurtured a positive attitude. The desire
to cultivate physical beauty was not considered
shameful and superficial. The philosophers of
love, like Vatsyayana in the Kama Sutra, advise
that the art of makeup be practiced as a ritual.
Even the 'plainest' woman adorns herself, she
doe not resign herself to her fate that either
one is beautiful or not, and there is the end
to it.
The
essential significance of the above exegesis can
be summed up in the fact that in the canons of
Indian art, whenever a lady was represented in
the nude, i.e. without any trace of clothing,
her glorified physical form always carried the
same weight of jewelry which she would have worn,
when fully clothed.
Thus rightly said A.K. Coomarswamy,
noted authority on Oriental Art:
"One needs to be an
Indian woman,
born and bred in the great tradition,
to realize the sense of power that
such jewels as earrings and anklets
lend their wearers; she knows
the full delight of swinging jewels
touching her cheek at every step,
and the fascination of the
tinkling bells upon her anklets"
It is reassuring and pleasurable
to observe that these traditional values are still
held valuable in the India of today.
Article Source:
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