CHAPTER VIII.
Hieroglyphical Marks of Distinction among the Indians.
IT is a part of the superstition and religious practices of the Indians, to paint on their forehead or breast certain hieroglyphical marks, which serve to shew either their peculiar veneration for some particular deity, or their attachment to a certain philosophical sect. Those who understand the secret meaning of these marks of distinction can immediately tell, when they meet a Pagan Indian, to what religion or school he belongs. It may afford satisfaction, therefore, to the reader, to see here an explanation of them illustrated by a plate.
I. Trishula, the trident which Shiva, Rudra, or Mahadèva holds in his hand, as a symbol of his power over heaven, the earth, and hell. For this reason he is called by the Indians the Trident-bearer. He is distinguished also by the name of Tripurandaga, that is, the god who pervades and governs three worlds. The symbol of these three worlds are three mountains, called Tripura.
II. Shula, which also represents the trident. The Shivanites paint it, as they do the former, with white earth, both on their forehead and breast. Some call it Tirunama, that is, the most sacred name of God.
III. Ciakshu, or Trkanna, the sacred eye of Shiva. This god has three eyes, and that with which he observes every thing stands in the middle of his forehead. For this reason he is called also Trilocèna, the triple-eyed god[190]. The Shivanites paint this eye on the forehead.
Lowry sculp.
IV. Aghni, or Ti, that is, fire, which the Shivanites worship as a symbol of Shiva or the sun. They bear this mark both on their forehead and breast. The pyramidal form of the Indian temples shews that they are dedicated to the sun or fire.
V. Tirumanna, the holy earth. This mark is painted on the breast and forehead with yellow, red, or white earth; and is used at Jagarnat on the Ganges; at Caveri, Cangipuram, and, in general, every sacred place. The lateral strokes are white or yellow; but that in the middle always red. This mark represents the Meddhra, that is, the womb of Bhavàni, from which every thing existing was produced. It is much used by the Shivanites and Vishnuvites.
VI. Tripundara, that is, the ornament of the three stripes. It is painted with sandal wood and ashes; and signifies Bhavani, the goddess of nature, together with her three sons Brahma, Vishnu, and Shiva—earth, water, and fire. Some are of opinion that this mark represents properly Vishnu, as he swam in the water at the time of the creation.
VII. The Tripundara with the Puttu. It has the same signification as the preceding, and is formed with ashes. Both these marks are very common among the Indians.
VIII. The Lingam or Phallus of Shiva: a symbol of the creative power of the sun. Some bear it on their neck; others paint it on the arms, and some on the forehead.
IX. Pàdiciandra, the half-moon, which is painted on the forehead with yellow. It is a mark of the Shivanites, who worship the sun and the moon; and the symbol of Ishàni and Parvadi, the ruler of mountains, the woman of the mountains, that is, the moon.
X. Pàdiciandra with the Puttu: has the same signification.
XI. Pattavardhana, that is, growth, increase. This mark is an ornament of the priesthood, and is painted with yellow. It represents the square pit in which the Homa or Yaga is burnt.
XII. Vìdavardhana, happiness, domestic felicity; a mark formed with cow’s dung, the symbol of abundance. The Vishnuvites, that is, the worshippers of water and earth, are accustomed to make great use of it.
XIII. Gòbura, the tower; a mark which is painted also with a yellow colour. It is dedicated to Ishi, or Lakshmi, and relates in particular to the thriving of cattle. The above female deity bears on her head a turret of this kind, as Cybele did formerly.
XIV. Villa, the bow. It is dedicated to Shrivàma, that is, the young Bacchus (the symbol of the sun), who with it combats the king of the night, the leader of monsters and giants, who is called Ràvana. According to tradition he was a king in the island of Ceylon: but properly he is the Pluto of the Indians.
XV. Tamara-ila, or Padma-ila, the calyx, together with a leaf of the nymphæa. It is painted with yellow, for which the Indians have a particular fondness; and signifies water, from which every thing was, and still is, produced by the influence of the sun.
XVI. Munghi-ila, a single leaf of the nymphæa, placed in water in an inverted situation. Like the preceding, it is also a mark of the Vishnuvites, and has the same signification.
XVII. Tamaramotta, the bulb of the nymphæa. It is painted with yellow, and has also a like signification.
XVIII. Puttu, that is, the mark of colour. It is either red, white, or black. In the middle of it is a raw grain of rice, dedicated to Lakshmi the goddess of the fruits of the earth, and particularly of corn.
XIX. Ciacra, the wheel of Vishnu, which he always turns round, and by which he directs the world. A great many wonderful powers and properties are ascribed to it by the Vishnuvites. The oldest Indian kings employed this wheel instead of a sceptre; and were, therefore, called Ciacravartti, that is, persons who direct the wheel. The Thibetians still retain this ancient custom, and carry round a wheel during their public processions, festivals, and other solemnities. This mark is particularly characteristic of the Vishnuvites. Some consider it as the symbol of the sun; and I am of the same opinion, because that luminary is worshipped by the Indians as the ruler of the world.
These different kinds of marks have, in the Samscred language, a common appellation, viz. Tilaga, a mark on the forehead; Todocuri, a stripe or mark which is made by touching colours; Citraga, a coloured ornament on the forehead; Pattikìra, a stripe made through devotion; Vishèszaga, marks by which the different sects and worshippers of God may be known. Some of these marks are painted with red sandal wood, others with curcuma, others with magnel; some with the ashes of burnt cow’s dung, others with rice-meal, and others with earth which has been collected in the neighbourhood of a temple, a sacred river, or a place consecrated to a deity: ashes from burnt human bodies are also sometimes mixed with this earth. The sandal wood, saffron and ashes are consecrated to fire, the sun, moon, and planets; but the sacred earth, the ricemeal, and burnt cow’s dung, are employed in honour of Lakshmi and her husband Vishnu[191].