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Mehndi ( pronunciation (help ·info )) is a form of body art and temporary skin decoration originating in ancit Egypt, usually drawn on hands or legs. They are decorative designs that are created on a person's body, using a paste, created from the powdered dry leaves of the hna plant (Lawsonia inermis).
It is a popular form of body art in South Asia and resembles similar traditions of hna as body art found in North Africa, East Africa and the Middle East. There are many differt names for mehndi across the languages of South Asia. In the West, mehndi is commonly known as hna tattoo, although it is not actually a tattoo as only the surface of the skin is inked.
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There are many variations and designs. Wom usually apply mehndi designs to their hands and feet, though some, including cancer patits and wom with alopecia occasionally decorate their scalps.
Mehndi is typically applied during Hindu weddings and festivals like Karva Chauth, Vat Purnima, Diwali, Bhai Dooj, Navraatri, Durga Pooja and Teej.
In Hindu and Sikh festivals, wom oft have hna applied to their hands, feet and sometimes the backs of their shoulders. Conversely, m usually have it applied on their arms, legs, back, and chest. For wom, it is usually drawn on their palms, backs of their hands and on feet, where the design will be clearest due to contrast with the lighter skin on these surfaces, which naturally contains less of the pigmt melanin.
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Likely due to the desire for a "tattoo-black" appearance, some people add the synthetic dye p-Phylediamine (PPD) to hna to give it a black colour. PPD may cause moderate to severe allergic reactions wh applied to skin.
According to A Dictionary of Urdu, Classical Hindi and glish Mehndi also refers to "the marriage-feast on the occasion of the bride's hands and feet being stained with hna."
The use of mehndi has its origins in the ancit Middle East and Indian subcontint where it was used in civilizations such as Babylon and ancit Egypt. It was prevalt in fourth ctury in India, which is evidt from cave art in the Deccan, specifically in the Ajanta Caves.
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Mehndi is a ceremonial art form common in India, Pakistan, Bangladesh, Nepal and Afghanistan. It is typically applied during weddings for Sikh, Muslim and Hindu brides. In Rajasthan, the grooms are giv designs that are oft as elaborate as those for brides. In Assam, apart from marriage, it is broadly used by unmarried wom during rongali bihu.
Mehndi paste is usually applied to the skin using a plastic cone, a paintbrush or a stick. After about 15 to 20 minutes, the mud will dry and begin to crack, and during this time, a mixture of lemon juice and white sugar can be applied over the hna design to remoist the hna mud so that the hna will stain darker. The painted area is th wrapped with tissue, plastic, or medical tape to lock in body heat, creating a more intse colour on the skin. The wrap (not a traditional method), is worn for two to six hours, or sometimes overnight, and th removed. Wh first removed, the hna design is pale to dark orange in colour and gradually darks through oxidation, over the course of 24 to 72 hours. The final color is reddish brown and can last anywhere from one to three weeks depding on the quality and type of hna paste applied, as well as where it was applied on the body (thicker skin stains darker and longer than thin skin). Moisturizing with natural oils, such as olive, sesame seed, or coconut, will also help extd the lifetime of the stain. Skin exfoliation, salt water and chlorine in swimming pools can cause the hna tattoo to fade.
The mehndi, a dye produced from a mehndi plant, would be delivered by the groom's relatives on a silver tray containing two burning candles.
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Before the application of the hna, the guests would throw coins over the bride's head as a symbol of fertility. Th, the bride's soon to be mother-in-law would th bring out a piece of silk cloth as a gift to the bride. The bride would th walk along the unrolled piece of silk cloth in the direction of her future mother-in-law and kiss her hand.
Once this is done, fruits, nuts, and pastries would be brought out and songs would be sung in hopes of making the bride cry. This was done because it was thought that the bride's crying would bring good luck. The bride would th sit on a cushion while her mother-in-law placed a gold coin in her hand as another sign of good luck. Once the bride was giv the gold coin, the hna would be applied.
The person who applied the hna was always someone who was already known to be happily married; that person would apply the hna onto the bride's palms, fingers, and toes. The hna was made from dried hna leaves, and the process of application took a long time. For this reason, it was suggested that it be applied betwe thirty-two and forty-eight hours before the wedding so that it may have ough time to stain the skin. In addition to the bride, most wom at the mehndi ceremony also apply the hna to their hands for aesthetics.
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This pattern is drawn on the palm. Gerally it starts from one corner of the wrist and ds at finger tip on the opposite corner. Vine, lace, flowers are the main elemts of this pattern.
Mandala is a geometric configuration of symbols used in various spiritual traditions including Hinduism, Buddhism, Jainism and Shinto. Various configurations of Mandala are drawn on the cter of palm in this mehndi pattern.The Sariraka Upanishad (Sanskrit: शारीरक उपनिषत्, IAST: Śārīraka Upaniṣad) is one of the minor Upanishads and is listed at 62 (in the serial order in the Muktika umerated by Rama to Hanuman
It is one of the 32 Upanishads that belongs to the Krishna Yajurveda, and is classified as one of the Samanya (geral),
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The Upanishad, along with Garbha Upanishad, focuses on what is the relation betwe human body and human soul, where and how one relates to the other, and what happs to each at birth and after death.
These questions and various theories are mtioned in the earliest Upanishads of Hinduism, the theories evolve, but Sariraka and other mystical physiology Upanishads are dedicated to this discussion.
The text asserts that the human body is a composite of elemts from earth, water, air, space (akash), and ergy (agni, fire); and that the human soul (jīva) is "the lord of the [human] body".
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It th describes how human ssory organs arise from these, how functions such as human will, doubt, memory, intellect, copulation, speech, anger, fear, delusion, right conduct, compassion, modesty, non-violce, dharma and other aspects of life arise.
The Sariraka Upanishad states that Prakriti (inert but always changing nature) consists of eight native forms, fifte functional modifications, for a total of twty-three tattva. It adds that the twty fourth tattva in human body is avyakta (undiffertiated cosmic matter), asserting the individual soul functions as Kshetrajna ("the lord of the body") and the Purusha (indestructible universal principle, unchanging cosmic soul) is differt and greater than the twty four tattvas.
The text consists of one chapter, which begins with a long prose prologue presting a theory of human physiology, followed by eight verses.
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Verses 1 through 4, as well as 6 through 7 are metric, while the 5th verse is longer and prests the theory of three Guṇas and four states of consciousness.
The Upanishad ops with the declaration that a body is a composite of pṛiṭhvī or earth and four primordial elemts (mahābhūṭas) – agni or fire, vayu or air, apas or water, and akasha or cosmic space.
It asserts that whatever is hard in any living body is the essce of earth; that which is fluid part is the essce of water; the hot in a body is the essce of fire; that which moves is essce of air; and the opings or pores in the body is of the essce of cosmic space.
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It links them to the elemts as follows: the ear is attributed to space and both as esstial to the sse of sound; the skin as essce of vayu, for touch; the eye is associated with fire with characteristics to know form; the tongue as essce of water, for taste; and nose as essce of earth, for smell.
These are of two types, external and internal, suggests the text. The external organs of action include the mouth as the organ of speech; the hands to lift; the legs to walk, the organs of excretion to remove bodily waste, and the organs of procreation to joy.
The internal organs of action are called Anṭaḥkaraṇa, comprising four types namely: Manas or mind for Sankalpa-vikalpa (free will and doubt); Buddhi or
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