Urdhva Pundra

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Sri Vaishnava
practitioners with the Urdhva Pundra on various parts of the body - forehead, neck, arms, chest and stomach region.
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Vaishnavism
Closeup of Vishnu, seated in the lotus position on a lotus. From depiction of the poet Jayadeva bowing to Vishnu, Gouache on paper Pahari, The very picture of devotion, bare-bodied, head bowed, legs crossed and hands folded, Jayadeva stands at left, with the implements of worship placed before the lotus-seat of Vishnu who sits there, blessing the poet.
Supreme deity
Vishnu / Krishna / Rama
Important deities
Dashavatara
Other forms
Consorts
Related
Holy scriptures
Puranas
Sampradayas
Others
Teachers—acharyas
Related traditions

The Urdhva Pundra (

Vaishnavas as an indication of their affiliation with Vishnu. It is generally worn on the forehead, but may also be worn on other parts of the body such as the shoulders. The markings are made either as a daily ritual, or on special occasions, and denote the particular sampradaya, or the lineage to which the devotee belongs. The different Vaishnava sampradayas each have their own distinctive style of tilaka based on the siddhanta of their particular lineage. The general tilaka design is of two or three vertical lines resembling the letter U or Y, which represent the feet of Vishnu.[2]

Literature

Left: A Vaishnava Hindu with Tilaka Urdhva Pundra.[3]
Right: A Shaiva Hindu with Tilaka Tripundra[4][5]

The Urdhava Pundra has historically been associated with the Vaishnava tradition, just as the Tripundra has been associated with the Shaiva tradition.[3]

The Padma Purana explains the theological significance of this symbol:[6]

May the Pāvamānya (hymns) purify me with the thousand-edged disc with which they always protect themselves. The disc of the Creator is bright with metal plates and golden. We knowing the hymn purify it (already) purified by it. The unaging disc with the felly is the eye of the noble one. Having put it on gods reached a high position. Therefore, (the marks of) the weapons should be duly put on particularly by brāhmaṇas, especially by Viṣṇu’s devotees. The noble one of a pure heart, who having the Ūrdhvapuṇḍra (perpendicular marks of sandal on the forehead) and the mark of the disc, meditates on Viṣṇu’s position, by means of singing the hymn always reaches (god Viṣṇu) higher than the highest always remaining in his heart.

— Padma Purana, Chapter 224

The Vasudeva Upanishad, a Vaishnava text, explains the significance of the three vertical lines in the Urdhva Pundra Tilaka, offering a number of interpretations:[7][8]

To be a reminder of the Vedic scriptures - Rigveda, Yajurveda, and Samaveda;

The three worlds Bhu, Bhuva, Svar;

The three phonemes of Om - A, U, M;

The three states of consciousness - awake, dream sleep, deep sleep;

The three realities - Maya, Brahman, and Atman;

The three bodies - Sthula, Sukshma, and Karana.

The Skanda Purana also offers some details regarding the mark:[9]

Listen to the marks of the devotees attentively, O Mother. It is a secret, O Dharaṇī. They have permanent marks of conch and discus on the pair of arms. Their special characteristic is Ūrdhvapuṇḍra (sectarian mark in a vertical V-like form) with a gap in the middle. Others have twelve such Puṇḍras on the forehead, heart, neck, belly, two sides, two elbows, two arms, back and back of the neck. When they apply the mark they recite the twelve names beginning with ‘Keśava’ and ending with ‘Vāsudeva’ and say ‘Obeisance to you’. When they apply it on the head, they say ‘Vāsudeva’.

— Skanda Purana, Chapter 6

Association with Vishnu's names

In Vaishnava tradition, the Urdhva Pundra is applied on different regions of an individual's body, and its application requires one to ritually invoke the various names of Vishnu. This is also referred to as nama.[10] The Chandogya Upanishad sheds some light on this concept in the form of an order in which the mark is applied, correlating each with an epithet of the preserver deity:[11]

Traditional variations

Sri Vaishnavism

Ramanandi sect, begun by Ramananda, whose members wear a similar tilaka design, but with reference to Sita and Rama
(to whom their devotion is offered) rather than Lakshmi and Narayana.

The women of the Sri Vaishnava tradition, especially the ones who hail from the Iyengar community, wear a different tilaka from the men. The red line that represents Lakshmi is worn prominently upon the length of their forehead to highlight their femininity, adorned with a miniature white curvature at the base of the design.

Iyengar tradition

In South India's Iyengar community, there are two forms of tilakas present, referred to as the namam. There exist two components of this mark present in both denominations:

  • Tiruman (sacred clay) - The white, lateral symbolism that represents the feet of Vishnu
  • Sricharanam (sacred feet) - The yellow/red central symbolism that represents the presence of Lakshmi
Tenkalai
Tenkalai Namam

The Tenkalai namam is a Y-shaped design that incorporates two vertical white lines upon the forehead that intersect upon the bridge of the nose, where they are aligned by the wearer. This is representative of the feet of Vishnu. A red line that is usually applied with kumkuma is worn in its midst as a representation of Lakshmi.[10]

Vadakalai
Vadakalai Namam

The

Vadakalai are among the two denominations of the Iyengar community of Tamil Brahmins. The Vadakalai namam is a U-shaped design that incorporates two curved lines upon the forehead. As in the Tenkalai namam, this is representative of the feet of Vishnu. A yellow line that is usually applied with a turmeric paste is worn in its midst as a representation of Lakshmi.[10]

Vallabha sampradaya

Tilak
tilaka

In the Vallabha tradition, or the

tilaka worn is a double vertical red line which is rounded at the base. This "U" shape represents Krishna's lotus feet. The materials used to make their tilakas are derived from saffron plants.[10]

Madhva sampradaya

Madhva Sampradaya mark two vertical lines with Gopichandana representing Vishnu's 'lotus feet'.[12]
In between a vertical black line is made from the daily coal of the dhupa (incense). In this sampradaya, worship is done to Narayana or Krishna daily. The coal left after offering incense is used to mark the black line. This is called as angara. Those who are wearing this line have finished the Devara Puja (worship). Underneath the black line, red dot is added to indicate that one has finished eating their lunch. This dot is called as akshate. It is the ash of the banana tree flower petal mixed with turmeric paste. The shape of angara-akshate is like that of a gada. It is supposed to be Pranadeva Sannidhi (have the presence of Vayu Devaru). Those who did not perform daily worship to Narayana wear the simple two line tilaka only.

Gaudiya Vaishnavism

In the

neem or asoka
leaf. The slight difference arose due to the emphasis on direct devotional service such as hearing from the shastras and glorifying the Lord in accordance with Srimad-Bhagavatam. As such, the black line made from the ash of the fire sacrifice is not included. As per Sri Hari Bhakti Vilasa (4.211), the tilaka is a U that begins from the beginning of the nose which is technically 1/3rd the distance from the base to the tip. In due course of time, this original tilaka was modified to suit various divisions and sects.

Nimbarka sampradaya

The Nibarka tilaka between the Shankha and Chakra

In

Upanishad. It starts at the bridge of the nose and continues as two vertical lines to the top of the forehead. This 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. This is said to represent God as Radha and Krishna together. This tilaka personifies the tenets of the Sampradaya, that God is Radha and Krishna together, none else. It is supposed to have been first given to Nimbarka at the time of his initiation by the sage, Narada. The tilaka is first given to an initiate by their guru at the time of initiation
, and after this, daily the devotee will remember his guru before he adorns the tilaka on his head.

Swaminarayan Sampradaya

graphic of a yellow U shape with a red circle in the center on an orange background
Udharva Marka, illustrated

In the Swaminarayan Sampradaya, the urdhva pundra tilaka, also known as the tilaka chandlo, is composed of two elements: a U-shaped tilaka made of sandalwood paste and a chandlo (circle) made of kumkuma (vermillion) in the center.[13][14] It is applied before the morning puja.[15]

According to the Swaminarayan Gadis, the symbol represents Lakshmi, the goddess of wealth and fortune, living in the heart of Swaminarayan wherein the tilaka represents the lotus feet of Krishna, the supreme being, and the chandlo stands for Lakshmi.[14][16] The BAPS interpret the tilaka chandlo to indicate the bhakta-bhagavan mode of worshipping Paramatma along with his ideal devotee, the Gunatit Sadhu.[17][18][19] Swaminarayan proclaimed that all devotees should wear the mark on 13 February 1821 during the Holi festival in Panchala, near Junagadh, Gujarat, after demonstrating the tilaka chandlo on Gunatitanand Swami.[17]

See also

Wikimedia Commons has media related to Urdhva Pundra.

References

  1. ISBN 978-1-317-10720-0
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  2. ^ "britannica.com - Vaishnavism". Archived from the original on 2008-01-27. Retrieved 2008-02-08.
  3. ^
    ISBN 978-0823931798
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  7. ^ Sunder Hattangadi (2000), Vasudeva Upanishad Archived 2016-02-08 at the Wayback Machine, Sama Veda, SanskritDocuments Archives
  8. ISBN 978-0195369229
    , pages 90-95
  9. ISBN 978-81-208-1082-2
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  10. ^ a b c d Narayanan, Vasudha (29 May 2018). "Tilaka and Other Forehead Marks". Brill's Encyclopedia of Hinduism Online. Retrieved November 26, 2023.
  11. ISBN 978-81-307-0553-8
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  12. ^ a b "Vedic Encyclopedia - see Tilak section". Archived from the original on 2008-05-09. Retrieved 2008-02-08.
  13. ISBN 978-1-108-42114-0
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  14. ^
    ISBN 978-1-59627-155-5. Archived
    from the original on 2022-03-20. Retrieved 2021-08-03.
  15. ISBN 978-0-521-65422-7. Archived
    from the original on 2021-08-03. Retrieved 2021-08-03.
  16. ^ "Tilak Chandalo". www.swaminarayan.nu. Archived from the original on 2021-07-09. Retrieved 2021-08-04.
  17. ^
    ISBN 978-81-7526-356-7
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  18. ^ DRAVITZKI, THOMAS (2015). AN INTERPRETATIVE PHENOMENOLOGICAL ANALYSIS OF 'BEING RELIGIOUS' IN EMERGING ADULTS WITHIN A TERTIARY EDUCATION SETTING. Victoria University of Wellington. pp. 48–49.
  19. ^ "Tilak-Chandlo". BAPS Swaminarayan Sanstha. Archived from the original on 2016-10-01. Retrieved 2016-10-05.
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