India is a land of innumerable beliefs, rituals and religious symbols.

These beliefs
and symbols are highly respected and revered.

The origin of the syllable OM is lost in the misty past. Its not being
specific to any one country or civilization is indicative of its being
an universally perceptible sound for the human race. This reason
for this universal perceptibility possibly lies in the fact that AAAH
is the most natural sound that issues from the human larynx. This
is evident when a man cries out naturally in extreme pain, anger or
fear. When emotions reach an extreme pitch the articulate sounds
evolved by man are not the ones that are heard, but the syllable
natural to man which is AAAH.
As a devout people we normally do not go into the meaning and interpretation of our many
beliefs. It is sufficient for most of us to know that they are part of the heritage handed down to us
by our ancestors and in deference to tradition it becomes our duty to scrupulously and
meticulously adhere to them. But by doing things without knowing the meaning behind them do
we not deprive ourselves of an insight into our heritage?
Culture can be well appreciated and adapted to changing times if the meaning behind its different
constituents is well understood. To develop this understanding one has to look upon all human
actions as having originated in human society. While answers to all questions cannot be
obtained, the acceptance of this approach at least opens the door to inquiry into the
circumstances which gave rise to our revered traditions.
An attempt to interpret our religious beliefs and symbols is a challenging task. Many of these
issues defy analysis and call for a judicious combination of the study of the social environment,
etymology, aesthetics and philosophy. As far as aesthetics and philosophy go there exists a good
deal of subjectivism and value judgement. While talking about etymology and the social
environment we are on relatively firmer ground. In this chapter we have taken a set of symbols,
beliefs and rituals and have attempted to examine the possible meaning behind them and the
reasons which could lie behind their origin. The first religious symbol we take up is that of Om
or Omkar.
OM or Omkar
The syllable OM is quite familiar to a Hindu. It occurs in every prayer. Invocation to most gods
begin with this syllable. For instance we have Om Namaha Shivaya, Hari Om, Om Shanti etc.
OM is also pronounced as AUM.
Is OM present in Christianity as 'Amen' and in Islam as 'Amin'?
This term occurs in various ancient and modern civilizations. It exists Hinduism, Christianity and
Islam.
In Arabic the first alphabet is pronounced as aliph. In Greek it is alpha, in the Roman script it is
A. Thus in many languages the first letter in the alphabet has the syllable A, with which the word
AUM or OM begins. In the Greek alphabet the last letter is Omega which comes very close to
OM. Thus the significance of the syllable OM as the beginning and end finds a parallel in many
of the scripts associated with ancient languages.

The different ways in which Omkar is depicted. The syllable OM is not
specific to Indian culture. It has religious significance in other religions
also. The word Amen used among Christians at the end of a prayer is
also said to be derived from the the syllable OM. Although OM is not
given any specific definition and is considered to be a cosmic sound, a
primordial sound, the totality of all sounds etc., Amen is said to mean
'May it be so'.
In Arabic a similar term 'Amin' has a religious significance.
This indicates some link between the various symbols and perhaps a common origin.
Even in the English language the syllable m occurs in words having a similar
meaning. for instance; Omniscience means infinite knowledge, Omnipotent means
having infinite powers Omnivorous means eating or reading every thing. This syllable
also occurs in words such as Omen which means a sign of something that is to occur in
future, Ombudsman means a person having authority to pronounce a verdict. Thus Om
is also used to signify divinity and authority.
The syllable OM is not specific to Indian culture. It has religious significance in other
religions also. The word Amen used among Christians at the end of a prayer is also said
to be derived from the the syllable OM. Although OM is not given any specific definition
and is considered to be a cosmic sound, a primordial sound, the totality of all sounds
etc., Amen is said to mean 'May it be so'.
In Arabic a similar term 'Amin' has a religious significance.

This is believed to be the original depiction of the syllable OM. We can see
how similar it is to the Englisg (Latin) letter 'M' as also to the greek letter
'Omega'.
Thus the origin of the syllable OM is lost in the misty past. Its not being specific to any one
country or civilization is indicative of its being an universally perceptible sound for the human
race. This reason for this universal perceptibility possibly lies in the fact that AAAH is the most
natural sound that issues from the human larynx. This is evident when a man cries out naturally
in extreme pain, anger or fear. When emotions reach an extreme pitch the articulate sounds
evolved by man are not the ones that are heard, but the syllable natural to man which is AAAH.
This sound it can be said would have been associated with man, in absence of articulate speech,
as are the various sounds of barking, meowing, bellowing that we associate with different
animals. This perhaps is the reason why the syllable beginning with the letter 'A' is the first one
in most alphabets. And this perhaps is also the reason for the Deification of the syllable AUM or
OM.
Swastika
The next religious symbol which is also revered by Hindu and ranks second only to OM is the
Swastika. Today, the Swastika is know the world over not as a religious symbolism of the
Hindus but as the Nazi emblem. Hitler's use of the Swastika on the flag of National-socialist
Germany has besmirched the Swastika. But the Swastika continues to hold a religious
significance for the Hindus. Like OM, the origins of Swastika are lost in the misty realms of the
past and they can only be guessed by piecing together of the surviving clues.
Unlike OM, the Swastika is not a syllable or a letter. It appears to be decorative charecter which
could have originated in a hieroglyphic (pictorial) script.

The various ways in which the Swatika is depicted.
is also revered by Hindu and ranks second only to OM is the Swastika. Today, the
Swastika is know the world over not as a religious symbolism of the Hindus but
as the Nazi emblem. Hitler's use of the Swastika on the flag of National-socialist
Germany has besmirched the Swastika. But the Swastika continues to hold a
religious significance for the Hindus. Like OM, the origins of Swastika are lost in
the misty realms of the past and they can only be guessed by piecing together of
the surviving clues.
The word Swastika is normally believed to be an amalgam of the words Su and Asati. Su means
'good' and Asati meant 'to exist'.
As per Sanskrit grammer the words Su and Asati when amalgamated into one word become
Swasti (as in the case of Su and Aaatam becoming Swagatam meaning welcome). If this
derivation of the word Swastika is true, then the literal meaning of the term Swastika would be
'let good-prevail'.
There exist many types of signs which stand for the Swastika. Even the standard version has two
forms the one facing the right also called the symbol of- the right hand path and the one facing
the left called the symbol of the lefthand path. These two Swastikas are also considered to
represent the male and female. There is also a Swastika which is an amalgam of these two types.

The various ways in which the Swatika is depicted.
Did the Swastika originate as blueprint for a fort called Su Vastu?
In the conventional type of a fort, the fall of one of the gates to the
attacking army would lead to the Enemy's pouring into the fort and
lead to massacre or capture of all or most of its inhabitants. But under
the Swastika grids fall of one of the four gates could still keep, at least
three-fourths of the fort safe. The understanding of the Swastika as a
blueprint for a fort can also be etymologically corroborated. In
Sanskrit, Vasa means to inhabit and Vastu means habitation. While Su
means good. The word Swastika might be an amalgam of the terms
'Su' and 'Vastu' pronounced as as 'Swastu') meaning 'a good
habitation'.
All these forms present the Swastika to us as if it were only a symbol. But it is quite possible that
Swastika was an object which played an important role in the real lives of people. Some scholars
have said that in ancient times forst were builtin the shape of a grid resembling the Swastika, for
defensive purposes. Under such an arrangement it was difficult for an enemy to storm into all
parts of the fort simultaneously.
Did the Swastika originate as blueprint for a fort called Su Vastu?
In the conventional type of a fort, the fall of one of the gates to the attacking army would lead to
the Enemy's pouring into the fort and lead to massacre or capture of all or most of its inhabitants.
But under the Swastika grids fall of one of the four gates could still keep, at least three-fourths of
the fort safe.
The understanding of the Swastika as a blueprint for a fort can also be etymologically
corroborated. In Sanskrit, Vasa means to inhabit and Vastu means habitation. While Su means
good. The word Swastika might be an amalgam of the terms 'Su' and 'Vastu' pronounced as as
'Swastu') meaning 'a good habitation'.
Incidentally in Sanskrit the term Swasta means calm or peaceful. Thus the term and concept of
Swastika might as well be a derivation of the name of a defensive structure which due to its
impregnable character was looked upon as a good habitation.
That this form of a defensive arrangement was a fact is also corroborated by the military practice
of Chakra-vyuha used during ancient times. In the Chakra-vyuha, the army was arranged in the
form of a circular grid which an enemy army was supposed to break. This was one of the
techniques used during the Mahabharata war in which Arjuna's son Abhimanyu was killed. That
the Chakra-vyuha was an effective form of defense and it was very diffciult to break it is
corroborated by the episode of Abhimanyu in the Mahabharata. Briefly, this episode is as
follows:

The clue that the Grid like the Swastika as a defensive arrangement
was a fact is also corroborated by the military practice of Chakra-vyuha
used during ancient times. In the Chakra-vyuha, the army was arranged
in the form of a circular grid which an enemy army was supposed to
break. This was one of the techniques used during the Mahabharata
war in which Arjuna's son Abhimanyu was killed. That the Chakra-
vyuha was an effective form of defense and it was very diffciult to
break it is corroborated by the episode of Abhimanyu in the
Mahabharata.

When Abhimanyu was on the family way, Sri Krishna used to take Subhadra (Abhimanyu's
mother) on excursions. To humour her, Krishna used to relate many of his adventures to the
pregnant Subhadra. On one such excursion Krishna was narrating his experience with the
technique of Chakra-vyuha and how step by step the various circles could be penerated. It seems
that Subhadra did not find this topic interesting enough for she soon went into a slumber. But
someone else was interested in Sri Krishna's narration and that was the yet to be born
Abhimanyu.
While Subhadra dozed off, Abhimanyu continued to carefully follow Srl Krishna's narrative of
the Chakra-vyuha. But after talking for sometime and not receiving any response from Subhadra,
Sri Krishna turned back and saw that Subhadra was savouring a sweet nap. Sri Krishna who had
at that time come upto the seventh step of the Chakra-vyuha, gave up his narration and returned
with Subhadra to the palace.
The unfortunate Abimanyu could never obtain the technique of breaking all the circles in the
chakra-vyuha, but whatever he had heard Sri Krishna say, he carefully preserved in his memory.
He grew up to be a brave handsome young man. Many years later when during the Mahabharata
war the Kavravas set up a Chakar-vyuha and challenged the Pandavas to come forward and
break it, none of the Pandavas knew the technique of doing so. At that Juncture to save the
honour of the Pandavas, Abhimanyu came forward and offerred his services for the task of
breaking the chakra-vyuha. Despite his incomplete knowledge of the technique he entered tne
grid and overcame one circle after another till he come to the seventh one for the breaking of
which he had no knowledge. Brave and ambitious es he was he fought valiantly in the unequal
struggle but in vain. His strength and bravery proved no match against the skillfully laid out
maze on warriors fighting whom, he met his end.
Similarly the Swastika could also have originated as a defensive structure which due to its vast
practical utility was considered powerful and was sanctified.
Saffron - the auspicous colour for Hindus, Sikhs, Buddhists and Jains
The saffron colour is considered auspicious by Hindus. This colour also has a special
significance to the Buddhists, Jains and Sikhs. Among the Sikhs it is considered to be a militant
colour signifying a fight against injustice. Hindus and Sikhs have a saffron coloured triangular
flag as their religious standard. This flag is seen flying atop Hindus temples and Gurudwaras.


This colour also has a special significance to the Buddhists, Jains and
Sikhs. Among the Sikhs it is considered to be a militant colour signifying
a fight against injustice. Hindus and Sikhs have a saffron coloured
triangular flag as their religious standard.
Buddhist bhikkus (monks living upon alms) always where saffron coloured robes. But among the
Hindus this colour is most prominently visible in their flag, robes, the Tilaka (mark applied on
the forehead), statues of Hindu Gods are daubed with saffron paste. In the diverse and
multifaceted Hindu religion, the saffron colour is one of the few elements that commands a
universal acceptance among Hindus. The fact that this colour is regarded as sacred even by the
offspring Buddhist and Sikh religions indicates that this colour must have obtained a religious
significance before they came into being.

Jain Munis and Buddhist Bhikkus (monks living upon alms) always
where saffron coloured robes. But among the Hindus this colour is
most prominently visible in their flag, robes, the Tilaka (mark applied
on the forehead), statues of Hindu Gods are daubed with saffron
paste. In the diverse and multifaceted Hindu religion, the saffron
colour is one of the few elements that commands a universal
acceptance among Hindus. The fact that this colour is regarded as
sacred even by the offspring Jain, Buddhist and Sikh religions
indicates that this colour must have obtained a religious significance
before they came into being.
Thus, Hinduism is the birthplace of the idea that the saffron colour is an auspicious one. The
origin of this attitude lies in the hazy past when pigments were few and were highly prized.
Plants and minerals have generally been the source for deriving pigments. The saffron pigment is
traditionally derived from the saffron plant (Autumn crocus) which is called Keshar from which
the saffron colour derives one of its names - Keshari. This plant is grown in the sub-Himalayan
regions and is very rare. This rarity could have been a reason for this particular colour to be
highly valued and this along with its golden hue raised it to the status of being a holy colour.
That the golden colour of the precious yellow metal had a special status apart from the high
monetary value attached to it is evident from the term Suvarna that is used to describe it. Suvarna
means the good colour (Su=good, varna=colour). This word was normally used to refer to gold
rather than the other word Hiranya (derived possibly as an adjective of Harina which means a
deer - an animal having a golden-brown sheen). Among other words used to describe the saffron
colour are Bhagva and Naranga. The term Bhagva could have been derived from the word
Bhagvan (meaning God) to identify this colour as the one associated with God. Incidentally in
Sanskrit the term for good fortune is Bhagya which also is indicative of the auspicious
significance attached to this colour.
The "Sacred Colour" concept in Different Cultures
The sanctification of a particular colour is not peculiar to Hinduism. In other religions also this
attitude is prevalent. For instance Muslims look upon Green colour as their religious standard..
Among present day Christians (originally among the Romans), the purple colour was regarded as
a colour of divinity and royalty.
Green Colour in Islam
It would be interesting to recall how the green colour acquired a special significance among the
Muslims.

A Mosque with the ubiquitous Green Colour.
Green as the colour of special significance must antedate the birth of Islam.
Its special significance originated from the critical role which an oasis played
in the lives of the Arabs. Hence the colour which stood for an oasis must have
been immortalized in their consciousness. For the desert nomads, a green peck
of an oasis in the vast water-starved desert must have been synonymous with
hope, survival and pleasure. Islam which became the religion of Arabs in the
6th century derives almost everything from their culture. Islamic folklore and
beliefs are largely born out of the culture of the Arabs. Hence the significance
of the green colour to the peoples whom the Arabs engulfed in their great
Jehad
The Arabs whose homeland is the birthplace of Islam is a vast desert-land. For these desert
nomads the appearance of a green patch on the horizon meant an oasis and springs (sources of
water) which is the life-blood for human settlement. Green as the colour of special significance
must antedate the birth of Islam. Its special significance originated from the critical role of oasis
played in the lives of the Arabs that the colour which stood for it must have been immortalized in
their consciousness.
For the desert nomads, a green peck of an oasis in the vast water-starved desert must have been
synonymous with hope, survival and pleasure. Islam which became the religion of Arabs in the
6th century derives almost everything from their culture. Islamic folklore and beliefs are largely
born out of the culture of the Arabs. Hence the significance of the green colour to the peoples
whom the Arabs engulfed in their great Jehad.
Purnakumbha
Purnakumbha literally means a "full pitcher" (Purna = full, Kumbha = pitcher). The
Purnakumbha is a pitcher full of water, with fresh leaves of the mango tree and a
coconut (Sriphala) placed on the top. The Purnakumbha is an object symbolizing God
and is regularly used during different religious rites. One instance of the Purnakumbha
itself used as an object of worship is the Satyanarayana Puja or the worship of Lord
Satyanarayana. The water in the jar is said to be the divine essence. Water has been
an object of worship since a very early age among the Hindus.

Purnakumbha literally means a "full pitcher" (Purna = full, Kumbha =
pitcher). The Purnakumbha is a pitcher full of water, with fresh leaves
of the mango tree and a coconut (Sriphala) placed on the top. The
Purnakumbha is an object symbolizing God and is regularly used
during different religious rites. One instance of the Purnakumbha itself
used as an object of worship is the Satyanarayana Puja or the
worship of Lord Satyanarayana.
The five forces of nature - Pancha-Mahabhoota
The five forces of nature Pancha-Mahabhoota which were the first to be worshipped included water.
Graphically, water is depicted by a circle in the Pancha-Mahabhootas. This circle seems to be a
symbolism for fullness. Water plays an important role even today in Hindu religious rites. During all
purificatory rites, water is sprinkled on the object to be purified. Before starting his meal a Hindu
sprinkles water around the the banana leaf from which a meal is traditionally eaten. In ancient times
before coronation a king was sprinkled with water so as to ensure an auspicious beginning to his reign. A
Kumbha called the Ghata was used during solemn occasions especially during marriages to fix t he
auspicious time for performing the ceremony. ritual a smaller vessel with a small hole at its bottom was
floated in a larger vessel full of water. The smaller vessel was gradually filled up with water flowing in
through the hole and after it was full to the brim the smaller vessel would sink into the larger one. The
auspicious moment decided in this manner with a Ghata was called Ghataka.

The Pancha-mahabhootas (five forces of nature) included (depicted graphically
from below) earth, water, fire, air and ether (sky).
The Kumbha Mela
The Kumbha-Mela ceremony that is observed at selected places seems to be
having a link with the concept of Purnakumbha. The Kumbha-Mela ceremony is a
public religious event which occurs after a lapse of few years. A notable feature of
the Kumbha-Mela is that it cannot be observed everywhere even at the selected
time. It can be observed only at the few select places. And these select places
which are on the banks of rivers like Hardwar and Prayag (Allahabad) on the banks
of the Ganga, Ujjain at the banks of the Kshipra, or Nashik on the banks of the
Godavari are places where the Kumbh Mela is held periodically.

The Purna Kumbha Mela and the Ardha Kumbha Mela
The Kumbha-Mela is also of two types, one on the occasion of Purna-Kumbha (the full pitcher)
and the other on the occasion of Ardha Kumbha (the half pitcher).
The Sri-Phala - Coconut
The coconut (Sriphala) which is used in the making of a Purna-Kumbha is also an independent
object of worship. A coconut alone is also used to symbolize 'God' While worshipping any deity,
A coconut is normally an item to be offered along with flowers and incense sticks, etc. But the
coconut has a special significance as is evident from the word Sriphala meaning God's fruit.
Other similar objects which also are used to symbolize divinity are the betel leaf and the areca-
nut (Supari) also called betel nut as it is chewed along with the betel leaf. These items which are
the objects of worship have one common element, all of them have a quality of mild intoxication.
Juice tapped from a coconut tree and the coconut milk is popularly used in the making of
fermented (mildily alcoholic) beverages like Neera.

Some objects which also are used to symbolize divinity are the betel leaf and the
areca-nut (Supari) also called betel nut as it is chewed along with the betel leaf.
These items which are the objects of worship have one common element, all of
them have a quality of mild intoxication.
While this inference may sound incredible, an incidental fact that should be noted is the
high value attached to alcoholic drinks like Soma and Sura by Aryans which can be
seen in the references to these drinks in Vedic literature. For the hardy war-like Aryans
of the Vedic period who lived a nomadic life in the wintry northern regions, such
intoxicating drinks had a special significance. It may not be purely accidental that the
items which later became objects of worship included those that had a quali ty of mild
intoxication.
Namaste or Namaskara
Namaste or Namaskara is the traditional Indian form of salutation. It is used while
greeting friends and acquaintances as also while paying obeisance to God. As a word it
finds its place in the invocation to our different Gods, for instance we have Shri
Ganeshaya Namaha Aum Namaha Shivaya, Krishnaya Tubhyam Namaha etc.

Namaste could be an amalgam of Namsya (or Namaha) meaning
obeisance and 'Te' which means you or to you. Thus Namaste as an
amalgam of Namasyate could be translated as obeisance to you. Namaste
involves the joining together of both palms at the level of the breast. If the
person being greeted is a senior or if it is addressed to God, the Namaste is
accompanied with a slight bow. This bow can be termed a slight one for it
is only a downward inclination of the head unlike the Japanese bow where
the body is bent at right angles at the hip.
The origin of this graceful and modest form of greeting can only be
guessed. Its literal meaning is an indication of it origin. Namaste could be
an amalgam of Namsya (or Namaha) meaning obeisance and 'Te' which
means you or to you. Thus Namaste as an amalgam of Namasyate could
be translated as obeisance to you.
The meaning implies a submission of one person to another. Thus,
Namaste as a salutation could have originated as an acknowledgement of
submission or surrender of one person to another. Hence, it would not be
erroneous to infer that Namaste was in fact a declaration of submission.
The fact that both hands have to be displayed to the person being greeted
could have its origin in the practice that when a person submits to another
or when two strangers hail each other they have to prove that they are
unarmed and that their intentions are peaceful.
This inference may sound incredible, but social anthropologists have
established that different types of mutual greetings and salutations have
originated in actions of two or more persons (facing each other) which
aim at proving that all of them are unarmed and that they come in peace.
The origin of the handshake has also been found to be a smilar one. More
so, the human smile also is considered to have originated as a sign of
submission.
Incidentally, this form of greeting has been transmitted from ancient India
to the countries of South-east Asia.
Namaste involves the joining together of both palms at the level of the breast. If the person being
greeted is a senior or if it is addressed to God, the Namaste is accompanied with a slight bow.
This bow can be termed a slight one for it is only a downward inclination of the head unlike the
Japanese bow where the body is bent at right angles at the hip.
The origin of this graceful and modest form of greeting can only be guessed. Its literal meaning
is an indication of it origin. Namaste could be an amalgam of Namsya (or Namaha) meaning
obeisance and 'Te' which means you or to you. Thus Namaste as an amalgam of Namasyate
could be translated as obeisance to you.
The meaning implies a submission of one person to another. Thus, Namaste as a salutation could
have originated as an acknowledgement of submission or surrender of one person to another.
Significantly, the Sanskrit word for subjugation is Niyamaha, which is close to Namaha meaning
obeisance or submission. Hence, it would not be erroneous to infer that Namaste was in fact a
declaration of submission. The fact that both hands have to be displayed to the person being
greeted could have its origin in the practice that when a person submits to another or when two
strangers hail each other they have to prove that they are unarmed and that their intentions are
peaceful.
Origin of the Handshake
This inference may sound incredible, but social anthropologists have established that different
types of mutual greetings and salutations have originated in actions of two or more persons
(facing each other) which aim at proving that all of them are unarmed and that they come in
peace. The origin of the handshake has also been found to be a smilar one.
Originally, in the hazy past of human history, when two strangers faced one another, they 'held'
each other's hand in a tight grasp. This assured to both the persons, that the other person was not
holding any weapon in his right hand. This later became the congenial etiquette of our
handshake. It is difficult to believe today that our friendly handshake, actually originated as a
hand-grasp between two suspicious strangers, as a mechanism to reassure both that the other is
not an enemy.
Origin of the Left-hand Drive
Even the left-hand drive that we observe for vehicular traffic in most countries did not originate
with the coming of motor cars. Even horse riders moved to the left side when facing one another.
The reason for this was that they bore their swords on the left side of the hip. And if the
oncoming stranger turned out to be an enemy, it was convenient for both the horsemen to draw
the sword with their right hand and attack (or defend). This was true even when oncoming
strangers were on foot. Hence the left-hand side rule, which later was extended to vehicular
traffic.
More so, even the human smile also is considered to have originated as a sign of submission.
Origin of the Human Smile
A smile is nothing but a grin with a feeling of pleasure or happiness and it involves revealing our
teeth by parting our lips. But the same action on part of an animal is considered to be a display of
anger and fear. Even humans grit their teeth in anger. But this is noticed prominently among
animals.
For instance, when two dogs fight over food they snarl and bear their teeth at each other. The
human smile, anthropologists say: is a development of the animal grin minus the anger and plus
pleasure. When two humans smile at each other they acknowledge that they look upon the other
as a friend.
Similarly, Namaste as a greeting could have originated as an act of reassurance or submission
between two persons.



Tilaka and Bindiya

The Tilaka is normally a vermilion mark applied on the forehead. This mark
has a religious significance and is a visible sign of a person as belonging to
the Hindu religion. The Tilaka is of more than one colour although normally
it is vermilion. It also does not have any standard shape and form and is
applied differently by members of different Hindu sects and sub-sects.
It is applied as a 'U' by worshippers of lord Vishnu and is red, yellow or saffron in colpur. It is
made up of red ochre powder (Sindhura) and sandalwood paste (Gandha). Worshippers of lord
Shiva apply it as three horizontal lines and it consists of ash (Bhasma). Soot (Abhira) is also used
as a pigment for applying a Tilaka.
Thus there is a variety of pigments; red, yellow, saffron, white, grey and black, etc. These
pigments are not only applied on the forehead but in some cases they are applied also on the
forearms and the abdomen. This is normally so in the case of worshippers of Shiva, a deity
whose origin is said to lie in the primitive pre-Arvan or proto-Aryan society.
Literally, Tilaka means a mark. Sindhura which is also used to describe a Tilaka means red and
Gandha which is also a term for Tilaka means pleasant odour. Hence, Tilaka normally connotes,
a red mark with a pleasant odour. Some scholars have seen the red colour as a symbolism for
blood. We are told that in ancient times, in Aryan society, a groom used to apply his blood, on-
his bride's forehead as a recognition of wedlock. The existing practice among Indian women of
applying a round shaped red Tilaka called Bindiya or Kumkum could be a survival of this.

Tilaka literally means a mark. Sindhura which is also used to
describe a Tilaka means red and Gandha which is also a term for
Tilaka means pleasant odour. Hence, Tilaka normally connotes, a
red mark with a pleasant odour. Some scholars have seen the red
colour as a symbolism for blood. We are told that in ancient times,
in Aryan society, a groom used to apply his blood, on-his bride's
forehead as a recognition of wedlock. The existing practice among
Indian women of applying a round shaped red Tilaka called
Bindiya or Kumkum could be a survival of this.
Significantly when an Indian woman has the misfortune of becoming a widow she has to stop
wearing this mark. In a woman's case a Tilaka is a sign of her being in wedlock Among men, the
Tilaka has been traditionally interpreted as a good luck charm. Apart from applying it in the
course of normal life, its application had special significance while setting out for a battle, a hunt
or before any other event of importance. To demonstrate the person's solemn commitment to
succeed in the endeavour he was about to undertake, the Tilaka was made up of the person's own
blood. Even today application of one's own blood as a Tilaka is considered to be a display of
solemn commitment to the oath or pledge being undertaken.
How this practice of Tilaka came into being is an open question. But anthropological researches
show that in most tribal societies in tropical and equatorial regions, there exist customs according
to which people paint their naked or semi-naked bodies with different pigments. This may be for
decorative and ritualistic reasons. Even today in our civilized way of life, during festivals like
Holi or Carnival whose origins are supposed to lie in a primitive tribal past, the smearing of
colours is an essential aspect of festivities. Tilaka could be a refined adaptation of this tribal
practice.

Anthropological researches show that in most tribal societies in
tropical and equatorial regions, there exist customs according to
which people paint their naked or semi-naked bodies with different
pigments. This may be for decorative and ritualistic reasons. Even
today in our civilized way of life, during festivals like Holi or
Carnival whose origins are supposed to lie in a primitive tribal
past, the smearing of colours is an essential aspect of festivities.
Tilaka could be a refined adaptation of this tribal practice.
On the whole it can be said that Tilaka is a survival of the tribal practice of
smearing one's body with different colours. This practice was later refined and
given a solemn meaning.