The Veil as Ghunghat & Purdah - a Hindu & Muslim dress

Ghoonghat or Ghunghat is a Hindi word which describes a type of veil or headscarf worn by Indian women to cover their head. The Sari grew in length with one end used to cover the bosom, the head and the face. This allowed women to work in the fields beside men or even ride a horse like men. Traditionally, in some parts of India, women are supposed to have a Ghoonghat in front of the family elders and men, except husbands and close family members. http://en.wikipedia.org/wiki/Ghoonghat

Sushila Singh, a professor at Banaras Hindu University in Varanasi, India, explains the Urdu language terms of purdah as well as hijab:  “Hijab may be understood as the dignity of woman.  Purdah is practiced to protect the dignity of woman” (Singh NP).  Although the behavioral rules of purdah are complex and depend upon the particular context and region, purdah is generally a cultural practice that confines women within the four walls of their homes.  If they must leave the house, they are required to observe purdah by wearing ‘burqua’ – a dress that covers Islamic women from head to toe.  Muslims practice this particular form of purdah, while Hindu women do not. 

In fact, purdah originated in the culture of Islam and is an alien phenomenon to Hindu women (Singh NP).  Singh explains, “In the mythic past of Hindu culture, all women figures as exemplified by different goddess statues are bare-headed and their faces are never veiled” (Singh NP).  However, with the Muslim invasions came the purdah system for Hindu women to practice.  Although this system was established for the protection of Hindu women just as it protects Islamic women, this purdah took a different form.  “Veiling one’s face, or “ghoonghat,” came into practice” (Singh NP). 

Through the ritual of “ghoonghat,” Hindu and Islamic women are forced to communicate with “outsiders” from behind a screen.  According to Singh, “other than the husband and children, all are outsiders – including the other family members” (Singh NP).

http://www.haddonfield.k12.nj.us/hmhs/academics/english/Women'sRightsinIndia.htm

Unlike Muslim and Christian traditions veil has very recent history in Hindu culture and society.  

According  to  the  German  scholar  Albrecht Weber Indian literature is one of the oldest literatures in the world but the Vedic or pre-Vedic period has no record of veil or “ghunghat” (the word used for veil in Hindi). The  veil  appears  for  the  first  time  in  16th  century  literature  written  in  Hindi language. Weber’s  observation  supports  my  argument  that  veil  in  Indian subcontinent was introduced only after Muslim invasions. 

A famous incidence in history  of  Rajasthan  can  be  seen  as  an  evidence  of  how  veil  started in  Indian subcontinent. In fourteenth century one of the Muslim invaders Alahuddin Khilji visits a Rajput King Rana Ratansen of Chittor Garha. The female quarter of the palace, though  distant,  was  just  opposite  the  quarter  where  the  sultan  was installed.  A  small lake  divided  his  abode  and  the  Rani’s  palace.  By  chance  he sees the Rani Padmini’s uncovered face in the lake water and falls in love with her.  He  plans  to  win  her  and  returns  back  to  attacks  Chittor Garh  to  steal  the queen but what he gets are the ashes of this beautiful queen who decides to die then to submit to his lust. As a consequence the women in Rajasthan started to cover their face to avoid attracting specifically the Muslim invaders.

Strong  evidence  in  favor  can  be  seen  by  the  absence  of  veil  among women  in  Southern  India  where  there is  no  insistence  on  head  cover  or  other such practices neither in public nor in private places. In contrast, in most northern states, the women are forced to cover their faces both in public and in privacy of their houses. 

Veil transforms as an imposed identity  specifically for the married woman. In most families she is not only  supposed to  cover her face but is also prohibited to talk  even to  her  son in law  (who is  normally of  her own  children’s age). With time women have learned to use the veil as an instrument to enhance their beauty and what has been the means of silencing them seems became the aspect of attraction. A woman in veil generates much more curiosity than the one with uncover face as it sexualizes her more.

The  absence  of  Veil  in  Sanskrit,  Prakrat  or  Apbhransh  literature  shows that  the  use  of  veil  in  India  is  neither  religious  nor  cultural.  In  contrast  to  the Classic  Sanskrit  Literature  the  sixteenth  century  Hindi  Literature is full of portrayals that shed light on the use of veil in medieval period in India. The period is known for two mainstream literatures. The one called the RitiKal (which comes close to the courtly poetry in English) offers images of veil in more sensual way and the other known as Bhaktikal that presents veil in a philosophic way.

Contrary  to  the  sexualizing  of  veil/  gunghat  by  Ritikalin poets  the Bhaktikalin poet uses it in philosophic way and the veil emerges as the requisite mediating  object  between the  physical  and  spiritual  worlds.

The famous Sufi poet Malik Mohammed Joyce in his epic Padmavat use it in a metaphoric way. Following the Sufi tradition he does not see veil as an instrument for enhancing female beauty but as a barrier between the soul (which is always feminine contrary to the Sanskrit tradition where it is masculine) and the God; the ignorance and the knowledge. In 15th and 16th century Hindi literature such use of veil was quite common among most poets of Bhakti Movement.

Another very well known Bhakti poet, Kabir Dasa, writes his poems in a form known in Indian poetics as “dohas”. He follows Jayce and in his very famous doha “Ghunghat ke pat khol re tohe piya milenge” uses the veil/ghunghat as a symbol of ignorance. In this famous doha Kabir asks one to uncover/the veil of ignorance and assures that by doing so he/ she will meet his dear.

Concluding the debate I feel that the imposition of veil on Hindu woman (specifically on the women of North India) comes as a defense mechanism against the Muslim invaders but the society ended up adopting this and even forcing the women to wear a veil even when there are no invaders. Christian woman, except the nuns, are free from imposition. Whereas the situation of Muslim women is becoming more problematic as on one hand it is the natural desire to be free from this imposed identity but on other hand it is the question of one’s cultural identity. In current politicized atmosphere it is hard to say how many Muslim women will openly admit that veil is a religious, cultural and social imposition. 

The political enforcement by some European countries has got severe reaction. More Muslim women are trying to defy the law and are appearing in public with their headgear. The specific identity of a nun in Christianity is her dress that covers her head and body but she never became the target of such polemic discussion.

The same law makers in European country who are fighting against the use of veil by Muslim woman never raised their voice or tried to strip of a nun of this specific identity. The veil has been used by the women of Muslim origin for centuries in such a way that it has become their only identity which I feel even they are scared to strip off.

It is the use of psychology of fear that helps in the religious imposition of veil and makes her see unveiling as an act of disrespect. It seems that by politicizing the veil on the pretext of democracy  and equa  rights the Western law  makers are trying to remove this fear but on the contrary they are depriving a woman of her right and her freedom. She should be given the freedom to decide and chose her dress. Sudha Swarnakar: http://www.abraec.org/coniec/pdf2/6.pdf

Henna Use As Adornment & Healing in Muslim Tradition

Henna occupies a unique place in the Moslem world.

Botanists believe the henna plant, Lawsonia inermis, originated in Persia. It grew extensively in Egypt and was carried to India where it was used since at least 700 AD for decorating hands and feet.  Some sources claim that the Moguls took the use of henna to India in the 12th Century C.E., centuries after use in the Middle East and North Africa. There is evidence to support that the tradition of mehndi originated in North Africa and the Middle Eastern countries during ancient times.

One of the earliest documentations of henna use comes from ancient Egypt, where it is known to have been used to stain the fingers and toes of the Pharaohs prior to mummification. 

Historically henna has also been used for medicinal purposes, to dye cloth and leather as well as hair, to color the manes of horses and other fur of other animals. In many eastern places, henna is thought to hold special medicinal or even magical properties. It is used to help heal skin diseases, prevent thinning hair, and cool the skin to reduce swelling in hot climates. It is made into a beverage to heal headaches and stomach pain. Newly purchased homes in Morocco often have their doors painted with henna to wish for prosperity and chase away evil. Henna is used as a protection against the “evil eye”. The foreheads of bulls, milk cows, and horses are sometimes decorated with henna for their protection. Tombstones in graveyards are sometimes washed with henna to please the sprits.

Henna is used in celebrations of betrothals, weddings, births, circumcisions, religious holidays (similarly for Hindus, Muslims, Jews, Christians and other religions) and National festivals. 

Henna was incorporated into the customs of Muslims in the 6th century CE. Henna traditions were long established in Arabia, and henna was used by Prophet Mohammed and all of his wives. As Islam expanded quickly into other countries, eastern Mediterranean henna traditions followed.

Henna was grown and used in Spain, by Christians, Jews and Moors from the 9th century AD until 1567 when the Spanish Inquisition outlawed it.

Muslims worldwide continue to celebrate the “Night of the Henna” and regard henna as a beautiful and suitable ornament for women to the present day.

Some of the most complex and elegant hennaes ever created were done between 900 to 1700 CE in the Islamic countries. Many miniature paintings and pottery pieces show elegantly patterned red and black henna during this period. Delicate and expressive henna patterns reached their peak in medieval Persia, incorporating calligraphy, multiple applications and varied colors. Persian henna artists achieved blacks, reds, browns, golds, oranges, even blue and green tints with additional herbs, spices and unusual techniques!

The henna paste is carefully applied and must remain undisturbed on the skin for several hours to create a strong dark stain. Most recipes contain some combination of sifted ground henna leaves, strong black tea, lemon juice and a few drops of eucalyptus oil. The thickness of the paste determines the ease of application. Factors which influence the intensity of the final design include heat, warmth which darkens the stain, and length of time the henna paste is left on the skin. Once the paste is applied it will dry and eventually crack. Today some artists still use sticks or toothpicks to apply it, though many prefer homemade plastic cones or large syringes. 

The leaves, flowers, and twigs are ground into a fine powder, and then mixed with hot water. Various shades are obtainable by mixing with the leaves of other plants, such as indigo, tea, coffee, cloves, tamarind, lemon, sugar, and various oils are also used to enhance the colour and longevity of design.

Generally, Arabic (Middle-eastern) mehndi features large, floral patterns on hands and feet, while Indian (Asian) mehndi uses fine line, lacy, floral and paisley patterns covering entire hands, forearms, feet and shins; and African mehndi art is large, and bold with geometrically patterned angles. African mehndi patterns usually use black henna while Asian and Middle Eastern mehndi is often reddish brown.

It is also a common custom in many countries to step into the mehndi, or simply apply the paste without creating a pattern in order to cool, protect or treat the skin (sometimes referred to as a “henna-shoe").

Henna is still in use in all the Middle Eastern and North African countries, though in some areas henna fell out of favor in the 20th century as women sought to emulate European and American fashions.

In the early Mughal courts of India, Persian women with elaborate black henna patterns are depicted alongside Indian women with red-tinted, although unpatterned hands. By 1700, the bridal celebration of the “Night of the Henna” was a well-established part of Muslim India’s traditions, and married Muslim women in India frequently used henna for adornment, for luck, and to enhance sensuality. A portrait of Mumtaz Mahal has one of the earliest Indian patterned hennaes.

http://www.habiba.org/culture.html

http://www.newsfinder.org/site/more/the_art_of_mehndi/

The Development & Foundation of the Sari by Hindu & Muslim Culture

The history and origin of sari seems to date back to the period of the establishment of civilization. Evidence states that women in the Indus Valley civilization used to cover themselves with a long piece of cloth, draped like a trouser. However, the word ‘sari’ originated from the Prakrit word ‘sattika’, which is mentioned in the early Buddhist literature. The word got shortened and was called sati, which further evolved into sari.

A statue recovered from the Indus Valley Civilization depicts a female priest wearing a cloth draped like a sari. The sari used to be draped in a way so that it divides the two legs and forms a trouser like attire. This was basically done to aid the temple dancers in their movements and also cover to their modesty. It is believed that the ‘dhoti’, which is the oldest Indian garment that was draped, is the foundation behind the sari. Till the 14th century, the dhoti was worn by both men and women.

The early statues of Goddesses show that the sari was draped in a sensual manner, like a ‘fishtail’, which was tied at the waist, covered up the legs and came in front of the legs like a decorative drape. During that era, the upper part of the body was either partially covered or was left bare. Down south in the state of Kerala, one can still see people wearing the traditional sari, which is a two piece garment, consisting of a lungi and a shawl. With the coming of the Muslims, the ghagra or the petticoat was discovered and clothes were stitched. Before that, Hindus believed piercing clothes with needles was impure.

 

The blouse came into existence with the Muslims and also the British. Since then, sari has come of age and now many new styles are being experimented with.

  

The Indian Sari  is more than 5000 years old. It was first mentioned in Rig Veda, the oldest surviving literature of the world, written somewhere around 3000 BC. The Sari, originally intended both for men and women, is probably the longest incessantly worn dress in the history of mankind.

Every Sari has a design theme, and often has a story to tell. The main field of the sari is framed on its three sides by decorative borders. Two of these borders run along the longitudinal sides of the sari, and the third comprises the end piece of the sari, and is known as its Pallav.

The Pallav is a border, and the more intensified version of the two longitudinal borders. This end piece is the part of the sari that is draped over the shoulder and left to hang over the back or front.

The Banarasi sari is a must for brides. This classic style came into existence during the Moghul era. The signature design of Banarasi saris is a narrow fringe like pattern - called Jhalar - found along the inner and outer border of the fabric.

http://www.scribd.com/doc/36554760/History-of-Saree-and-Types-of-Saris-From-Different-Regions-in-India

Two Folds of Cloth, Appliqued, Flowered, Pegged: The Shamiana Mughal Tent

Shamiana is a ceremonial tent richly decorated with hangings, used by the Moghal and Rajput courts as they travelled around the country. They are traditionally made with textile techniques as Appliqué - the technique of applying one piece of fabric to a ground cloth by means of stitching. Shapes and motifs can be attached with an ordinary sewing thread, or by some type of embroidery stitch that is both functional and decorative.

Indeed, the Mughal Empire in India raised the art of the tent to new levels of splendor: Timur's 12-pole tent described by Clavijo was far surpassed by Humayun's Zodiac Tent, in which the 12 signs were worked in precious stones, and by Akbar's vast and carefully planned tent-palace. The window of the tent of Nur Jehan, favorite wife of Jahangir, the fourth Mughal emperor, was screened with a gold medallion set with pearls and gems and golden bars or chains.

Ruy Gonzáles de Clavijo was the Spanish ambassador to the court of the Mongol emperor Timur in Samarkand from 1403 to 1406. His description of Timur’s tents is corroborated by the miniature paintings of the period.

“Nearby this awning where we were seated stood a very large high pavilion, in fact a very huge tent, and it was four-square in shape. In height it was the measure of three long lances such as used by a horse soldier, and the side was a hundred paces from angle to angle, it being as said four-cornered. The ceiling of the pavilion was made circular to form a dome, and the poles supporting it were twelve in number each as thick round as is the chest of a man breast high….

The inner walls of the pavilion are lined with crimson tapestry very beautifully woven in patterns of diverse designs, further it is hung with silk stuffs of many colours, in places worked over with embroidery of gold thread. The ceiling of the pavilion is its mark of greatest beauty for at the four corners are figured four eagles sitting with their wings closed. The exterior walls of the pavilion are made of a silk cloth woven in bands of white and black and yellow that to us appeared made of silk sarsenet. Outside at each corner there is set a very tall staff capped with an apple of burnished copper above which is a crescent.… From a distance indeed this great tent would appear to be a castle, it is so immensely broad and high. It is a wonder to behold, and magnificent beyond description….

Round and about the pavilion on the ground outside is erected a wall of cloth, as might be otherwise the wall of a town or castle, and the cloth is of many coloured silks in diverse patterns…. This forms the great Enclosure surrounding and shutting in the pavilion. It is known by the name of the Sarápardeh, and within its circuit stand many other tents and awnings pitched diversely and at intervals. Among the rest we noted here a very lofty circular tent of another kind, for this is not stayed with ropes, the wall being supported by poles of the size and thickness of our lances, which are wrought into the canvas wall, as might be to form a netting cross-wise. Above those of the side walls rise other long poles which hold up the upper part of the tent forming the domed ceiling…. Then in a row there were four tents that were connected together by a passageway going from one to the other, by which one could pass as might be through a corridor, and this corridor was covered in above by a ceiling....

In this wall, the Enclosure, there were opened at intervals window frames with shutters, but these window openings could not be passed through from without by any one, for each was guarded by a netting of thin silk tape…. High up, in the ceiling of the cupola of the tent we are now describing, is seen the figure of an eagle in silver gilt, it is of a great size and its wings are open. ”

Read more: http://www.saudiaramcoworld.com/issue/201004/movable.palaces.htm

Shamiana in Pakistan Today:

Two Folds of Cloth, Outside Dosuti Coloured, Inner Cloth Flowered Printed or Gulkari with Frill all round. Complete with Kanat Ropes, Bamboo Poles and Pegs. http://www.manzoorsons.com.pk/products.htm

Other Resources:

http://www.vam.ac.uk/activ_events/past_events/intercultural_events/shamiana/index.htmlhttp://www.vam.ac.uk/images/image/44877-popup.html

http://findarticles.com/p/news-articles/herald-the-glasgow-uk/mi_8039/is_20070309/briefing-shamiana/ai_n46704226/

 

Chinese Muslim Wedding Tradition

Wang Daiyu, Islaminchina.com

It is however safe to say that just like other Muslim communities they are a blend of local cultures and Islamic religious requirements just as Arab Muslim wedding traditions are a blend of Arab culture and Islamic requirements, Malaysian wedding traditions are a blend of Malaysian culture and Islamic requirements etc.

A Chinese Muslim wedding is very complex, but it avoids all superstitions such as the reading of the horoscopes of the betrothed persons. Some ask the Ahund to read the Arabic wedding rite on the wedding day or the day before. If one of the parties is not a Muslim, the Ahund admits that one into Islam one or two days before the wedding so both may be of the same faith.

The new type [of Chinese wedding] follows the teaching of Islam and gains the consent of both parties. Islamic wedding customs are rational and at the same time are timeless, for they follow rules laid down more than thirteen hundred years ago. Emphasis on agreement between both parties, especially the consent of the girl, shows the Islamic stress on the rights of men and the protection of the rights of womanhood.

The ceremonies of engagement and marriage are quite similar for Chinese Muslims and non-Muslims except that the Muslims celebrate the event with a religious and a general ceremony, and they do not use old Chinese music or gongs or fire crackers since they consider them to be superstitious.

The religious ceremony is held a day before or just preceding the general ceremony. At present Muslims hold the marriage ceremony in the mosque. 

Read more: http://www.zawaj.com/chinese-muslim-wedding-traditions-old-and-new/