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An Entire Site full of Stories and Folktales! A vast treasure trove of Indian Folktales and Animal Tales is yours for the sampling. Meet Raman at his wittiest best and the smartness of the vettala. There are Panchatantra Tales, Fairy tales,saints and poets of India- stories which have a moral and impart values. Laugh at the Humorous stories and enjoy the tales from this beautiful land and do not forget to delve into Mythological stories, too.
@ April 2006


 

*~*Did You Know*~*

                                                                                                          WHY WEAR TILAK/POTTU

Contents
  
1 Milk Miracle
2 The Holy Basil
3 Amla Tree
4 Why Worship Peepal
5 River Ganges
6 River Kaveri
7 River Yamuna
8 Offerings To Deities
9 The Rudraksha
10 Lighting A Lamp
11 Wearing Tilak/Pottu
12 Why Apply Viboothy
13 Why Do Pradakshina
14 Why Ring The Bell
15 Why Worship Tulsi
16 Why Blow Conch
17 The Lotus Flower
18 Why Say "Shanthi" Thrice
19 Why Offer Coconut
20 Why Chant "OM"
21 Why Do "Aarti"
22 Why Do "Abhisekha"
23 Temples In Kerala
24 Why Bhrama Is Not Worship
25 Curse Of The Moon
24 Mourning,The Vasthu Way
25 Nag Panchami
24 Satya Narayana Vrata
           

 



Most religious Indians, especially married women wear a tilak or pottu on the forehead. It is applied daily after the bath and on special occasions, before or after ritualistic worship or visit to the temple. In many communities, it is enjoined upon married women to sport a kum kum on their foreheads at all times. The orthodox put it on with due rituals. The tilak is applied on saints and images of the Lord as a form of worship and in many parts of North India as a respectful form of welcome, to honour guests or when bidding farewell to a son or husband about to embark on an journey. The tilak varies in colour and form.

This custom was not prevelant in the Vedic period. it gained popularity in the Pauranic period. Some belive that it originated in South India.

The tilak or pottu invokes a feeling of sanctity in the wearer and others. It is recognised as a religious mark. It form and colour vary according to one's caste, religious sect or the form of the Lord worshiped.

In earlier times, the four castes (based on verna or color) - Braahmana,Kshatriya,Vaishya and Sudra - applied marks differently. The brahmin applied a white chandan (sandalwood paste) mark signifying purity as his profession was of a priestly or ecademic nature. The Kshatriya applied a red kum kum mark signifying valour as he belonged to the warrior races. The Vaishya wore yellow kesar or termeric mark signifying properity as he was a business man or trader devotted to creation of wealth. The sudra applied a black bhasma, kasturi or charcoal mark signifying service as he support the work of the other three divisions. Also Lord Vishnu worshipers apply a chandan tilak of the shape of "U", Lord Shiva worshipers applied a tripundra bhasma, Devi worshippers applied red dot of kum kum.

The chandan, kum kum or bhasma which is offered to the Lord is taken back as prasad and applied on foreheads. The tilak covers the spot between the eye brows, which the seat of memory and thinking. It is known as the aajna chakra in the language of yoga. The tilak is applied with the prayer - "May i remember the Lord. May this pious feeling pervade all my activities. May I be righteous in my deeds". Even when we temporarily forget this prayerful attitude the mark on another reminds us of our resolve. The tilak is thus a blessing of the Lord and protection against wrong tendencies and forces.

The entire body emanates energy in the form of electro-magnetic waves - the forehead and the subtle spot between the eye brows especially so. That is why worry generates heat and causes a headache. The tilak or pottu cools the forehead, protects us and prevents energy loss. Sometimes, the entire forehead is covered with chandan or bhasma. Using plastic reusable 'stick bindis' is not very beneficial, even though it serves the purpose of decoration.

This unique to Indians and helps to easily identify us anywhere.

 



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