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Wednesday,
October 31,
2001, Chandigarh, India 
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Reinventing mehndi for body art
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Reinventing
mehndi for body art The current craze for body painting among the urban youth has suddenly revived interest in mehndi — the natural and pain-free art of decorating the hands and feet with henna on ceremonial occasions. Today, it has taken the place of tattoos and the many harmful chemical applications for colouring the skin. Consequently, mehndi is no longer applied only on the hands and feet. Nor is it restricted to weddings and festivals. Professional henna artists are offering designs for different parts of the body and for all occasion. Besides, readymade henna stickers and pattern blocks are available at every street corner. This resurgence of interest in what is patently a time-honoured custom in most Indian homes is often attributed to Hollywood celebrities like Demi Moore and Madonna. To them, it is said, goes the credit of making mehndi a fashion statement in the West. As Preeti Sinha, a henna artist puts it: “Like many things traditionally Indian, mehndi art is being re-imported only after the West had approved it. Young women are increasingly taking to it because it is fashionable overseas, little realising that our mothers and grandmothers loved it in their time.” “I couldn’t care if mehndi is making a fashion statement now,” comments Ira Gujral, a well-known choreographer. “All I know is that is has always been part of my culture and tradition. I will indulge in it whenever it suits me, regardless of the occasion.” What, however, escapes that people is that mehndi is not Indian in origin, but draws upon a tradition that was adopted them north Africa. Almost 5000 years ago, the Egyptians discovered that paste from the henna plant had preservative properties and hence, was applied to the hands and toes of dead Pharaohs as part of the mummification ritual. In Arabia, henna enjoyed religious sanction and even today, Muslims believe that its application is sunnah (a meritorious act). This explains why conservative Muslim women wear mehndi on their hands, feet and hair right through the year. Mehndi reached India with the Arab invaders and became popular in northern states of Rajasthan, Uttar Pradesh, Punjab and Gujarat. But then, its use was purely utilitarian as the paste is supposed to keep the hands and feet cool. Only later, women began experimenting with different patterns and an art was born. “You will find African, Arabic and Middle Eastern influences in mehndi patterns,” Sinha points out. “While in countries like Morocco and Egypt, mehndi is applied in a geometric fashion, the Arabs prefer bold floral motifs, leaving bare space in the centre of the palm.” Adds Revati Khanna, another henna artist: “Arabs like black mehndi, which is why they heat the paste before applying, to darken the colour. The impression is, however, not jet black, but rather brownish-black, unlike the Indian variety, which is reddish brown.” Indian mehndi styles are also distinctive for their intricate filigree-like work, which can completely cover the hands and wrists, often going right up to the elbow. On the legs it adorns the feet, the ankles and sometimes reaches up to the knees. “There are many variations to traditional designs that have come up over the years,” Khanna points out. “Today, we have Rajasthani, designer, western and classical mehndi patterns... These may look the same to a lay person, but a discerning eye can spot the difference between them.” “They look the same because they are the intricate,” explains Sinha. “Traditional patterns use a lot of floral and avian motifs, whereas modern designs combine geometric patterns and are usually abstract. The choice of flowers and birds is also a way to differentiate between styles.” Cones are convenient tools for creating new patterns, just as paper stencils are available for instant application. Ready-made henna blocks, which can be pressed on any part of the body, are also major time savers for those in a hurry. Henna art centres and parlours are also offering specially developed shades, ranging from bright red to deep brown, for appropriate highlights and outlining of patterns. Some are even experimenting with silver and gold powders for added effect. But then, these are known to last only till the first wash! MF
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Bindi emerges as fashion statement Recollect the face of the late dancer Protima Bedi? What was it about her that caught one’s immediate attention and created a dramatic effect about her personality? Well, it was a big round vermilion bindi on her dusky forehead. Take the case of singer Usha Uthap. Neither the glitter of her exquisite jewellery nor the richness of her zari sari can take the eye away from that commanding embellished dot. In the case of former actress Vyjyanthimala too it is the bright bindi elegantly placed between heavily kohl-laden eyes, that exudes an aura of quiet elegance and gentle strength. The custom of applying bindi, bindu, tilak, pottu by both men and women has formed an important part of the Indian tradition since as early as the vedic times and is going strong even today. “Brahma Vaivarta Purana” states that without the application of the Tilak on the forehead all bathing, giving and receiving gifts, austerity, performing sacrifice, the rites of gods and ancestors, are fruitless. Such emphasis on the application of the bindi/tilak has very strong philosophical and metaphysical reasons behind it. The point where the tilakam is applied between the eyebrows of the two eyes is known in yoga as the Ajna Chakra. According to the ancient science forms, it is a major nerve centre in the human body governing brain activity and intuition. In ancient times, Hindus used red lead powder (sindoor) or sandalwood paste to place dots on their foreheads. These were decreed by sages as having cooling properties, which when applied in the form of a Bindu on the Ajna Chakra lead to a calm and quiet mind. Mercury, believed to be the seed of Shiva along with sulphur, regarded as the female element, was also used to apply the tilak, thus lending to Bindi a cosmic significance. The grains of rice, which were used to embellish the bindi, were considered symbols of fertility and prosperity. The tilak also has as important role to play in all religious ceremonies. After every puja, the tikka is applied to all present — an elongated one for the men applied with the right thumb and a round one for women applied with the right ring finger. The main purpose behind the application of the tikka on this occasion is to constantly remind the bearers of the tilak that upholding the dharma is their foremost duty. The point of application of the bindi is also symbolic of the mind’s third eye, the opening of which signifies supreme wisdom, intuition and the burning of the carnal desires. The application of the bindu reminds the bearer of the fact that the main goal of life is liberation from the bondage of the flesh. The tikka ceremony is particularly important during weddings amongst Indians. By applying tilak on the groom’s forehead, he is urged is treat the physical relation between the husband and wife on a higher, spiritual plane and to burn down all lowly thoughts in the same way as Shiva burnt Kama. The application of the vermilion dot on the forehead of the groom further connotes that from the time of the marriage onwards he has to don on the additional responsibility of duties towards the entire family, clan, society and the ancestors. The adequate performance of such duties requires the intuitive eye to allow him to look beyond the apparent into the hidden. The forehead mark of the bride too has similar connotations. The traditional red dot on the bride’s forehead signifies blood, and hence is symbolic of fertility and of suhaag. By applying the vermilion dot on her forehead the new bride agrees to take upon herself the role of the preservator of her husband’s family. The bride’s bindi is also symbolic of the “Anu”, the point of beginning of all creation and hence of the infinite potential of the women as is signified by the concept of Shakti, the cosmic female element. In modern times, however, the bindi has become a fashion statement, apart from indicating a woman’s marital status. Leaving the traditions aside, bindis today come in a variety of materials like vinyl, plastic, crystal, stone, coloured liquid, and so on. The designs of the bindi too are as varied. The application of the bindi has not remained limited to the forehead alone. The current fashion trends have made bindi on adornment for nearly every body part be it the eyelids, eye corners, navel, nails, eyelashes, arms, neck, cheeks. Bindi tattoos are a rage amongst the young. These radical and bold uses of the bindi might cause the conservative amongst us to raise our eyebrows disapprovingly. But definitely it has added a whole new dimension of creativity in the application of the bindi and has insured that this 5000 years old tradition will continue for many generations to come though may be with a different attitude and significance.
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