[[File:Nice female of Nepal.jpg|thumb|A
woman with a ''tilaka'' on her forehead]]
In
Hinduism, the
tilaka (), colloquially known as a
tika, is a mark usually adorning the forehead, at the point of the
Ajna (third eye or spiritual eye) and sometimes other parts of the body such as the neck, hand, chest, or the arm.
The
tilaka may be applied daily for decorative purposes, as a symbol for religious affiliation, for rites of passage or for special spiritual and religious occasions, depending on regional customs.
It is also used as an expression of honour or to welcome someone upon arrival.
[Axel Michaels (2015), Homo Ritualis: Hindu Ritual and Its Significance for Ritual Theory, Oxford University Press, , pp. 100-112, 327]
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."
Variations and meaning
Different Hindu denominations use different materials and shapes to make the tilaka.
[Makhan Jha, Anthropology of ancient Hindu kingdoms: a study in civilizational perspective, p. 126]
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 as
Urdhva 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 the
urdhva pundra varies in each
Vaishnavites sect throughout India and can be made with sandalwood paste or various other materials.
to Dr. Vijay Prakash Sharma, the known styles include:
-
Vijayshree – white tilaka urdhva pundra with a white line in the middle, founded by Swami Balanand of Jaipur;
-
Bendi tilaka – white tilaka urdhva pundra with a white round mark in the middle, founded by Swami Ramprasad Acharya of Badasthan Ayodhya; and
-
Chaturbhuji tilaka – white tilaka urdhva pundra with the upper portion turned 90 degrees in the opposite direction, no shri in 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.
The Vasudeva Upanishad, a Vaishnava tradition text, explains the significance of three vertical lines in urdhva p undra tilaka to be a reminder of Brahma, Vishnu, Shiva; the Vedic scriptures – Rigveda, Yajurveda and Samaveda; three worlds Bhu, Bhuva, Svar; the three syllables of Om – a, u, m; three states of consciousness – awake, dream sleep, deep sleep; three realities – Maya, Brahman and Atman; the three bodies – sthula, sukshma, and karana.[Sunder Hattangadi (2000), Vasudeva Upanishad , Sama Veda, SanskritDocuments Archives][D Dennis Hudson (2008), The Body of God, Oxford University Press, , pp. 90-95]
Shaivite tilakas
The
Tripundra or Rudra-tilaka is the other major tilaka variant, often worn by the followers of
Shiva. 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 as
vibhuti. The use of
vibhuti is symbolic of detachment to the world or renunciation.
This variant is the more ancient of the two and shares many common aspects with similar markings worn across the world.
Chapter 2 of the Kalagni Rudra Upanishad, a Shaiva traditional text, explains the three lines of a Tilaka as a reminder of various triads: three sacred fires, three syllables in Om, three gunas, three worlds, three types of atman (self), three powers in oneself, first three Vedas, three times of extraction of the Vedic drink Soma.
-
The first line is equated to Garhapatya (the sacred fire in a household kitchen), the A syllable of Om, the Rajas, the earth, the external self, Kriyā – the power of action, the Rigveda, the morning extraction of Soma, and Maheshvara.
-
The second streak of ash is a reminder of Dakshinagni (the holy fire lighted in the South for ancestors), the sound U of Om, Sattva, the atmosphere, the inner self, Iccha-shakti – the power of will, the Yajurveda, midday Soma extraction, and Sadashiva.
-
The third streak is the Ahavaniya (the fire used for Homa), the M syllable in Om, the Tamas guna, Svarga – heaven, the Paramatman – the highest self (the ultimate reality of Brahman), Jnana – the power of knowledge, the Samaveda, Soma extraction at dusk, and Shiva.
These lines, represent Shiva's threefold power of will (icchāśakti), knowledge (jñānaśakti), and action (kriyāśakti).[Antonio Rigopoulos (2013), Brill's Encyclopedia of Hinduism, Volume 5, Brill Academic, , pp. 182-183] The Tripuṇḍra described in this and other Shaiva texts also symbolises Shiva's trident (trishula) and the Trimurti of Brahma, Vishnu, and Shiva.
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.
Followers of Ganapatya use red sandal paste ( rakta candana).
Other traditions
Jainism wear the tilaka to mark the forehead of Jaina images with sandalwood paste, during puja ceremonies.
[Robert Williams (1998), Jaina Yoga: A Survey of the Mediaeval Śrāvakācāras, Motilal Banarsidass, , pp. 221-222] It may also be used, for the same reason, to mark idols at the start of a puja (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.
Relationship to bindi
Although bindi is 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.
Bibliography
Further reading
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