By – Phanjoubam Chingkhei
The art of applying Chandon, more specifically on the forehead, as has been practiced by the Manipuri community since the regional variant ofthe Gaudiya Vaishnavim was adoptedin the late 18th century has its origin in the Indian sub-continent and was not a random creation to belittle any indigenous faith and beliefs.
The concept, symbolism andritualistic materials that are to be used behind the application of the Tilaks or Chandanmeant that the art of applying Chandonas observed by Manipuri Hindus is rather an extension of the philosophical and religious beliefs which has been in existence in ancient India for more than 5000 years ago.
Application of Chandon or Tilak as it is known in mainland India dates back to Vedic times in ancient India and through the centuries, the custom of applying Tilak has been a ritualistic tradition that grew in diversity and dimension with the foundation of various sects and sub-sects within the larger frame of Hinduism.
GautamChattopadhyay in his “VaishnaviteTilaks” informs the application of Tilaks and rest of the body are not just arbitrary but based on sensitive points capable of absorbing spiritual energy of which the forehead occupies the most prominent place.In fact, the portion between the eyebrows where Tilaks are applied is the point where the Sixth Chakhra, the seat of concealed wisdom, is located and which has the capability of enhancing one’s spirituality, as conceptualized in Hindu spiritual philosophy.
Clay markings of Hindudenomination
Shaivisim, a Hindu denomination devoted to Lord Shiva, is characterised by their followers wearing three horizontal lines known as ‘Tripundra’ with varied dot sizes, either superimposed or drawn above or below the eyebrows. Dr.GautamChatterjee in his The Sacred Art of Tilaks says the lines are indicative of the Hindu’s belief of creation, sustenance and destruction which basically is the Trinity of God- Brahma, Vishnu and Shiva. Followers of Shaivaites also mark their body with the sacred ash of fire known as Bhashma.
The Ramanandi Sect devotes to worshipping of Ram, Sita, Lakshman and Hanuman and has their own clay markings (Tilaks). This sect was adopted by Pamheiba Garibniwaz in the early 18th century when the kingdom of Manipur reached the zenith of its power. It has “two vertical lines of sandalwood paste based on two perpendicular lines and between the eyebrows where the semi-circular line is drawn.”
Vaishnavites tradition revolves around the loving devotion to an avatar of Lord Vishnu (often Krishna).Vaishnavite devotees woreeither a U-shaped or a V-shaped mark on the forehead denoting the foot of Lord Vishnu or Lord Krishna’s Lotus Foot prints, which is drawn from the hairline to the bridge of the nose. The U shaped symbol is referred to as the Urdhav Pundra with Udhav meaning Upwards and Pundra meaning Lotus.
The Padma Purana states that on the left side of the Tilaka, Lord Brahma is situated while on the right side is located Sadashiva, but one should know that in the middle dwells Lord Vishnu. The Padma Purana is also very specific that the markings on the nose and forehead should be connected.
With multiple sects (Sampradayas) and sub-sects (Parivaras) existing within Vaishnavism,there undoubtedly exists, variations in the shapes and configuration in the Tilakasthough the basic form of Urdhav Pundra is preserved.
In the MadhvaSampradaya, the Tilak has two vertical lines representing Vishnu’s lotus feet. It also consists of a black line between the two vertical lines which is the coal remnant of fire-worship. Underneath the black line is put a dot of yellow or red colour signifying Lakhsmi. The black line is necessitated, due to the process of worship daily fire sacrifices (nitya-homa).
In the Sri Vaishnav tradition, two lines representing Narayan’s feet is drawn as Tilak with a red line in the middle representing Lakhsmi Devi, which is his consort. In this sect, the Prefix Sri is used as they believe the goddess Lakshmi serves as a mediator between Vishnu and man. The Tilak here is made out of the white mud found in the anthills.
Nimbaraka tradition has the Tilak made out of gopi-chandana. The Tilak starts at the bridge of the nose and continues as two vertical lines to the top of the forehead and is said to represent the temple of God. Within these lines, between the eyebrows is a black dot made from the slate found in Barsana Uttar Pradesh, the sacred birthplace of Radha and Sri Krishna.
Other Krishna-centric sects have their own definite form of Tilaks and markings suggestive of their own form of worship. In the VallabhaSampradaya, the Tilak work is generally a single vertical red line which represents Yamuna Devi. The form of Krishna worshipped in the Vallabha line is Sri Nathji or Govardhana Hill whose consort is the river Yamuna. Their process of surrender goes through Sri Yamuna Devi.
Manipuri Chandon markings of Gaudiya Vaishnavism
The core of Manipuri Meiteis religious faith is associated with Gaudiya Vaishnavism propounded by ChaitanyaMahaprabu in the 15th centuryand for whom, the concept of Yajna or worship is through chanting of the Lord’s name (nama-sankirtana) and not the daily fire sacrifice as performed in the Madhva sect.
The Tilak is usually made out ofGopichandana or mud from Vrindavanand consists of a U-shaped mark symbolising Lord Krishna’s or Lord Vishnu’s lotus feet. Underneath the U shaped lines, a motif of tulsi leafis applied on the base of the nose.Other Vaishnav groups may also feature the shape of the neem or the Ashoka leaf depending on their approach to the faith.
In Gaudiya’s approach of worshipping, devotees approach Radha and Krishna through a servant such as Tulsidevi. To indicate this, the red dot representing Radha is replaced with that of a tulsi leaf offered at the base of the Krishna’s feet. Only with the mercy of Tulasi Devi, devotees can develop pure devotion to Radha and Krishna.
However, Gaudiya lineages features distinctive svarupa such as followers of Nityananda sect wearing a sharp, triangular shaped derived from the form of the Neem-leaf, in their Tilak. Advaita’s followers wear a heart-shaped large banyan leaf whereas followers of the Gadadhar, put on a leafless Tilak. Lastly, followers of Shyamananda, would put on the imprint of Radha’s anklebelt with a dot in the middle. Followers of Narottama, generally wears a marking of a tulasi-leaf with a small stem.
As to the philosophical aspects of Gaudiya, killing or injuries to another living being is absolutely unacceptable and the method of unconditional surrender to Krishna is “to loose one’s individuality and self-consciousness in ecstatic union with the God” which again is achieved through devotional songs and repeated chanting of the names. This philosophical approach of the Gaudiya sect strongly influenced and established the foundation of Manipuri Meitei arts and culture which centreson the religious attachment to Krishna and Radha.
Chandon– Materials and Beliefs
Settled in a landlocked region far from the centre of the Indian civilization meant Manipuris in the medieval period undertook the custom of applying chandonas a religious custom.
Vedic texts give much account on the materials or the clays that are to be used for the application of the Tilaks (Chandon). Citing BhramhandaPurana, one of the 18 Maha-puranas, Dr. Swami Satyaprasad in his Religious Rites, says the “holy marks shall be made of white clay, which shall be secured from either a top of a hill or from a river bank, or the clay may be brought from an ant-hill (Termite Mound) or from the roots of the Tulsi plant.”
For application of the redpowder or Kumkum, Shiksapatri states, “a round shaped mark shall be applied in the centre of Urdhav Pundra. The paste shall however be offered to Radha/Lakshmi before using.”
Brahma Purana, first of the 18 Maha-Puranas, mentions without the mark of Tilak, all the holy recitals, gifts of cows and offering to the fire are worthless. On the contrary, devotees who took extreme care in applying the Tilaks by looking into his reflection on the water can go to the abode of the Lord Supreme.
Substantiated by PancharatraSamhita, a renowned authoritative text, it says that all libations of water to ancestor names, the yagna, the penance, the daily rituals, charities becomes fruitless without the application of the Urdhav Pundra.
Brahma Purana also mentions the role of different fingers in application of the tilak with each finger having a special attributes. Accordingly, the thumb ensures nourishment, the ring finger wealth, the middle finger longevity and the index finger emancipation.
Such is the complexity of Urdhavpundra that specified mantras are also chanted when applied on different body parts.
ChandonChei – Seeking an even marking
The Hari-Bhakti-Vilasa recognises that though a devotee may wear the Udhav Pundra according to the Sect he is associated with, and that it may vary in shape, colour and materials, the features that are shared is that “it should not be crooked, uneven, uncentered, dirty or bad smelling.” This is perhaps one reason why Manipuris took extreme care in application of Chandon on the forehead which presumably led to the development of the “ChandonChei” so as to achieve the most even form of markings.
The lean body and the sharp edges of the ChandonChei enabled Manipuri devotees to put on the Gaudiya Vaishnavism Urdhav Pundra and tulsi leaf markings on their forehead and on the base of the nose respectively with keen precision.
Retrospection in Manipur’s context
The recorded arrival of Brahmins from Bengal and rest of India in Manipur since the 15th century and their assimilation with the local population points to the fact the application of Chandon has been in existence since the period of King Kiyamba although its adoption on a wider scale was initiated only in the 18th century. The application of Chandon was more intensified in the early part of the 20th centuryduring the period ChurachandMaharajdue to socio-political circumstances of Manipur.
Historically, Charairongba (1697-1709) is the first ruler to have fully embraced Hinduism (Nimbarka Sect of Vaishnavism) followed by his son Pamheiba. Pamheiba who had possibly some inclination towards the worship of Lord Krishna in the early years after he became the ruler eventually changed to Ramanadi sect devoted towards Lord Ram presumably possibly due to his religious preceptor convincing him that the Ramanadi sect was more akin for a warrior king.
Still, it would not be out of place to hypothesize that asRamanandihave adifferent Sectarian clay-based markings distinct from those worn by followers of Gauidya Vaishnavism, the popular clay-markings worn today by Manipuri Hinduscannot be attributed to the times of MeidinguPamheiba but owes its origin toMaharaja Bhagyachandra.
Application of Tilak was made compulsory during the heydays of Brahma Sabha in the early part of 20th century, when religious taxes in the form of ChandanSenkhai. Prior to this, there is no historically documented evidence that ordinary people were given stringent punishment for not wearing Chandon.
With its own unique philosophical meaning, as evidenced in vedic texts and Hindu traditions of South Asia, the origin on the application of chandon in Manipur never ever began with an intention to defile indigenous customs and beliefs as often propagated by the rising wave of anti-Vaishnavitesin Manipur valley today. Rather, it is a feature of the Indian civilization which was later adopted by the Manipuri society.Still with more than 500 years of Hinduism’s presence in Manipur valley, the custom of applying Chandon is indeed a state heritage requiring wider appreciation.
Unfortunately, all the principles surrounding the application of Chandon has been completely twisted and given a false fictionalised narrative by certain native sections of anti-Manipuri cultures by linking the Chandan markings as that of the union of male and female sexual reproductive organs. This indeed is a sacrilegious claim and threatens the very secular established foundation of Manipuri culture and right thinking citizens of Manipur should make sure that radical shallow ideas do not breed in the land of the ancestors.
