Tilaka

InHinduism,thetilaka(Sanskrit:तिलक), colloquially known as atika,is a mark worn usually on the forehead, at the point of theajna chakra(third eye or spiritual eye) and sometimes other parts of the body such as the neck, hand, chest, or the arm.^[1]Thetilakamay be worn daily for decorative purposes, as a symbol for sectarian affiliation, for rites of passage or for special spiritual and religious occasions, depending on regional customs.^[2]^[3]It is also used as an expression of honour or to welcome someone upon arrival.^[4]

Tilakas come in an assortment of styles or shapes and are adorned using various material such as "ash from sacrificial fire or cow dung, sandalwood paste, turmeric, clay, charcoal or red lead."^[5]^[6]^[7]

Variations and meaning

Different Hindu denominations use different materials and shapes to make the tilaka.^[6]

Vaishnavite tilakas

Traditionally, a staunch Vaishnavite would mark twelve parts of the body with tilakas and other symbols, but the most prominent tilaka is displayed on the forehead. The Vaishnava tilaka, also known asurdhva pundra,consists of a two or three vertical lines starting from just below the hairline to almost the end of one's nose tip, and intercepted in the middle by an elongated U. The style of theurdhva pundravaries in eachVaishnavitesect throughout India and can be made with sandalwood paste or various other materials.^[3]^[7]

According to Dr. Vijay Prakash Sharma, the known styles include:^[8]

Vijayshree – white tilakaurdhva pundrawith a white line in the middle,^[8]founded by Swami Balanand of Jaipur;
Bendi tilaka – white tilakaurdhva pundrawith a white round mark in the middle,^[9]founded by Swami Ramprasad Acharya of Badasthan Ayodhya; and
Chaturbhuji tilaka – white tilakaurdhva pundrawith the upper portion turned 90 degrees in the opposite direction, noshriin the middle, founded by Narayandas of Bihar, ascetics of Svarg Dvar of Ayodhya follow it.

Additional styles include: Vallabha Sampradaya Tilaka, Sri Tilaka of Rewasa Gaddi, Ramacharandas Tilaka, Srijiwarama tilaka, Sri Janakraja Kishori Sharan Rasik Aliji tilaka, Sri Rupkalajee tilaka, Rupsarasji tilaka, Ramasakheeji tilaka, Kamanendu Mani tilaka, Karunasindhuji tilaka, Swaminarayana Tilaka, Nimbarka tilaka, and Madhva tilaka.^[10]

TheVasudeva Upanishad,a Vaishnava tradition text, explains the significance of three vertical lines inurdhvapundratilaka to be a reminder of Brahma, Vishnu, Shiva; the Vedic scriptures – Rigveda, Yajurveda and Samaveda; three worlds Bhu, Bhuva, Svar; the three syllables ofOm–a,u,m;three states of consciousness – awake, dream sleep, deep sleep; three realities –Maya,BrahmanandAtman;the three bodies –sthula,sukshma,andkarana.^[11]^[12]

Shaivite tilakas

TheTripundraor Rudra-tilaka is the other major tilaka variant, often worn by the followers ofShiva.^[13]^[14]It consists of three horizontal bands across the forehead with a single vertical band or circle in the middle. This is traditionally done with sacred ash from sacrificial fires, also known asvibhuti.The use ofvibhutiis symbolic of detachment to the world or renunciation.^[15]This variant is the more ancient of the two and shares many common aspects with similar markings worn across the world.^[3]

Chapter 2 of theKalagni Rudra Upanishad,a Shaiva traditional text, explains the three lines of a Tilaka as a reminder of various triads: threesacred fires,three syllables inOm,threegunas,three worlds, three types ofatman(self), three powers in oneself, first threeVedas,three times of extraction of the Vedic drinkSoma.^[16]^[17]

The first line is equated toGarhapatya(the sacred fire in a household kitchen), theAsyllable of Om, theRajas guna,the earth, the external self,Kriyā– the power of action, theRigveda,the morning extraction of Soma, andMaheshvara.^[16]^[17]
The second streak of ash is a reminder ofDakshinagni(the holy fire lighted in the South for ancestors), the soundUof Om,Sattva guna,the atmosphere, the inner self,Iccha– the power of will, theYajurveda,midday Soma extraction, andSadashiva.^[16]^[17]
The third streak is the Ahavaniya (the fire used forHoma), theMsyllable in Om, theTamas guna,Svarga– heaven, theParamatman– the highest self (the ultimate reality ofBrahman), Jnana – the power of knowledge, theSamaveda,Soma extraction at dusk, andShiva.^[16]^[17]

These lines, represent Shiva's threefold power of will (icchāśakti), knowledge (jñānaśakti), and action (kriyāśakti).^[18]The Tripuṇḍra described in this and other Shaiva texts also symbolises Shiva's trident (trishula) and thedivine triadof Brahma, Vishnu, and Shiva.^[18]

Other Hindu denominations

Shaktas,worshippers of the various forms of the Goddess (Devi), wear a red dot on the forehead in the middle of three horizontal lines or a semicircular line.^[1]^[19]

Followers ofGanapatyause red sandal paste (rakta candana).^[20]

Other traditions

Jainswear the tilaka to mark the forehead of Jaina images with sandalwood paste, during puja ceremonies.^[21]It may also be used, for the same reason, to mark idols at the start of apuja(worship), to mark a rock or tree before it is cut or removed from its original place for artisan work, or to mark a new piece of property.^[4]^[22]

Relationship to bindi

Althoughbindiis related to tilaka there are a few notable differences. Bindi is a dot worn mainly by married Hindu women on the forehead and generally red in color, symbolizing good fortune. Today, it can be found in an assortment of colors, shapes, materials and mainly worn for decorative purposes.^[23]^[24]

References

^^a ^bMittal, Sushil; Thursby, Gene (2006-04-18).Religions of South Asia: An Introduction.Routledge. p. 73.ISBN 978-1-134-59322-4.
^Kanti Ghosh, Sumit (2023-05-18)."Body, Dress, and Symbolic Capital: Multifaceted Presentation of PUGREE in Colonial Governance of British India".Textile.22(2): 334–365.doi:10.1080/14759756.2023.2208502.ISSN 1475-9756.S2CID 258804155.
^^a ^b ^cLochtefeld, James G. (2002).The Illustrated Encyclopedia of Hinduism: N-Z.Rosen. p. 709.ISBN 978-0-8239-3180-4.
^^a ^bAxel Michaels (2015),Homo Ritualis: Hindu Ritual and Its Significance for Ritual Theory,Oxford University Press,ISBN 978-0190262631,pp. 100-112, 327
^"Tilak | Hindu symbolism".Britannica.Retrieved2023-07-04.
^^a ^bMakhan Jha,Anthropology of ancient Hindu kingdoms: a study in civilizational perspective,p. 126
^^a ^bChatterjee, Gautam (2001).Sacred Hindu Symbols.Abhinav Publications. p. 59.ISBN 978-81-7017-397-7.
^^a ^bVijay Prakash Sharma,p. 72.
^Vijay Prakash Sharma,p. 73.
^Vijay Prakash Sharma,p. 75.
^Sunder Hattangadi (2000),Vasudeva Upanishad Archived2016-02-08 at theWayback Machine,Sama Veda, SanskritDocuments Archives
^D Dennis Hudson (2008),The Body of God,Oxford University Press,ISBN 978-0195369229,pp. 90-95
^Deussen 1997,pp. 789–790.
^Klostermaier 1984,pp. 131, 371.
^Narayanan, Vasudha (29 May 2018)."Tilak and Other Forehead Marks".Brill’s Encyclopedia of Hinduism Online.RetrievedNovember 24,2023.
^^a ^b ^c ^dDeussen 1997,p. 790.
^^a ^b ^c ^dNene 1999.
^^a ^bAntonio Rigopoulos (2013),Brill's Encyclopedia of Hinduism, Volume 5,Brill Academic,ISBN 978-9004178960,pp. 182-183
^Commissioner, India Census (1902).Census of India, 1901.Printed at the Government central Press. p. 83.
^Grimes, John A. (1995).Ganapati: Song of the Self.Albany: State University of New York Press. p. 202, note 40.ISBN 0-7914-2440-5.
^Robert Williams (1998),Jaina Yoga: A Survey of the Mediaeval Śrāvakācāras,Motilal Banarsidass,ISBN 978-8120807754,pp. 221-222
^E. Washburn Hopkins (1910). "Mythological Aspects of Trees and Mountains in the Great Epic".Journal of the American Oriental Society.30(4): 347–374.doi:10.2307/3087578.JSTOR 3087578.
^DeMello, Margo (2012-02-14).Faces around the World: A Cultural Encyclopedia of the Human Face: A Cultural Encyclopedia of the Human Face.ABC-CLIO. pp. 24–25.ISBN 978-1-59884-618-8.
^Kenny, Erin; Nichols, Elizabeth Gackstetter (2017-06-22).Beauty around the World: A Cultural Encyclopedia.ABC-CLIO. pp. 22–23.ISBN 978-1-61069-945-7.

Bibliography

Deussen, Paul (1997).Sixty Upanishads of the Veda.Motilal Banarsidass.ISBN 978-81-208-1467-7.
Entwistle, A. W. (1981).Vaishnava tilakas: Sectarian marks worn by worshippers of Vishnu (IAVRI bulletin).International Association of the Vrindaban Research Institute.
Klostermaier, Klaus K. (1984).Mythologies and Philosophies of Salvation in the Theistic Traditions of India.Wilfrid Laurier Univ. Press.ISBN 978-0-88920-158-3.
Nene, Roopa (1999)."कालाग्निरुद्रोपनिषत् (Kalagnirudra Upanishad)"(PDF)(in Sanskrit).Retrieved28 January2016.
Vijay Prakash Sharma.The sadhus and Indian civilisation.^{[full citation needed]}

External links

How to put on Tilak,Hare Krishna Temple
Tilaka: Hindu marks on the forehead,Priyabala Shah

[:1-1] Mittal, Sushil; Thursby, Gene (2006-04-18).Religions of South Asia: An Introduction.Routledge. p. 73.ISBN 978-1-134-59322-4.

[2] Kanti Ghosh, Sumit (2023-05-18)."Body, Dress, and Symbolic Capital: Multifaceted Presentation of PUGREE in Colonial Governance of British India".Textile.22(2): 334–365.doi:10.1080/14759756.2023.2208502.ISSN 1475-9756.S2CID 258804155.

[lochtefeldupundra-3] Lochtefeld, James G. (2002).The Illustrated Encyclopedia of Hinduism: N-Z.Rosen. p. 709.ISBN 978-0-8239-3180-4.

[axelmichaels100-4] Axel Michaels (2015),Homo Ritualis: Hindu Ritual and Its Significance for Ritual Theory,Oxford University Press,ISBN 978-0190262631,pp. 100-112, 327

[5] "Tilak | Hindu symbolism".Britannica.Retrieved2023-07-04.

[:2-6] Makhan Jha,Anthropology of ancient Hindu kingdoms: a study in civilizational perspective,p. 126

[:0-7] Chatterjee, Gautam (2001).Sacred Hindu Symbols.Abhinav Publications. p. 59.ISBN 978-81-7017-397-7.

[FOOTNOTEVijay_Prakash_Sharma72-8] Vijay Prakash Sharma,p. 72.

[FOOTNOTEVijay_Prakash_Sharma73-9] Vijay Prakash Sharma,p. 73.

[FOOTNOTEVijay_Prakash_Sharma75-10] Vijay Prakash Sharma,p. 75.

[11] Sunder Hattangadi (2000),Vasudeva Upanishad Archived2016-02-08 at theWayback Machine,Sama Veda, SanskritDocuments Archives

[12] D Dennis Hudson (2008),The Body of God,Oxford University Press,ISBN 978-0195369229,pp. 90-95

[FOOTNOTEDeussen1997789–790-13] Deussen 1997,pp. 789–790.

[FOOTNOTEKlostermaier1984131,_371-14] Klostermaier 1984,pp. 131, 371.

[15] Narayanan, Vasudha (29 May 2018)."Tilak and Other Forehead Marks".Brill’s Encyclopedia of Hinduism Online.RetrievedNovember 24,2023.

[FOOTNOTEDeussen1997790-16] Deussen 1997,p. 790.

[FOOTNOTENene1999-17] Nene 1999.

[rigopoulos182-18] Antonio Rigopoulos (2013),Brill's Encyclopedia of Hinduism, Volume 5,Brill Academic,ISBN 978-9004178960,pp. 182-183

[19] Commissioner, India Census (1902).Census of India, 1901.Printed at the Government central Press. p. 83.

[20] Grimes, John A. (1995).Ganapati: Song of the Self.Albany: State University of New York Press. p. 202, note 40.ISBN 0-7914-2440-5.

[21] Robert Williams (1998),Jaina Yoga: A Survey of the Mediaeval Śrāvakācāras,Motilal Banarsidass,ISBN 978-8120807754,pp. 221-222

[22] E. Washburn Hopkins (1910). "Mythological Aspects of Trees and Mountains in the Great Epic".Journal of the American Oriental Society.30(4): 347–374.doi:10.2307/3087578.JSTOR 3087578.

[23] DeMello, Margo (2012-02-14).Faces around the World: A Cultural Encyclopedia of the Human Face: A Cultural Encyclopedia of the Human Face.ABC-CLIO. pp. 24–25.ISBN 978-1-59884-618-8.

[24] Kenny, Erin; Nichols, Elizabeth Gackstetter (2017-06-22).Beauty around the World: A Cultural Encyclopedia.ABC-CLIO. pp. 22–23.ISBN 978-1-61069-945-7.

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