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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.
Shringar
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.
Lady of the Harem
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 Ten Mahavidyas : Shodashi - She Who is Lovely in the Three Worlds
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.
White Tara: The Divine Mother
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.
Meditating Shiva
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
Surya TikaThe tika is a composite ornament composed of a chain with a hook at one end and a pendant at the other.
ShringarIt 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."
Radha as Bani ThaniA 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.
Incomparable Beauty
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:
Radha and Krishna
'My eyes are not eyes, beloved, but arrows of light;
My eyebrows are not eyebrows, but swords for your Destruction.'
Padmini Nayika
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.
The Colors of Rajasthan
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. Portrait of a
Rajasthani BrideOrnaments 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.
Nath or Nose RingOne 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)
Gold Ruby Necklace SetThe 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.
Jasmine BudsMost 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)
Buddha HeadFrom 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.
The Maiden
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."
Antiquated Karn Phul
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.
The portrait of a nude
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)
Bangles in Mohenjodaro Statue
"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.
Dragon BraceletIndeed 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
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