Indian Wedding

Jainism in India emphasizes the need for two different living organisms to co-exist and interact peacefully helping each other to grow. Jains consider wedding as a worldly affair and Jainism recommend marriage and family raising to all Jains.

The traditional practices of the Jain wedding vary from community to community. For the Jains wedding is an open declaration by a man and a woman expressing their desire to live together for the entire life. Weddings are usually performed by the Jain pundits and are celebrated properly on a grand scale.
In the pre-wedding ritual, Leghana Lekhan, a pooja/prayer is held at the bride’s house before the relatives and the “Lagna”/”Muhurat”/the date and time of the wedding is fixed by the priest and at the end the “Lagna Patrika”, a letter informing the time of the wedding is sent to the groom’s house.
Sagai, the engagement ceremony held at the groom’s house, involves a ritual wherein the groom, with the traditional headgear and his hands washed performs the “Vinayakyantra” prayer after which the bride’s brother puts a tilak/bindi on the groom’s forehead and gives him a gold chain, ring, clothes, coconut, sweets and money. The “Lagna Patrika” is presented to the groom and when the priest reads out the “Patrika” the elders shower blessings on him.
‘Mada-Mandap’, an important ceremony held a day or two before wedding, is performed at the bride’s and groom’s houses, all the rituals being performed by the priest.
“Barati”takes place at the bride’s house. When “barat”/groom’s procession arrives the bride’s brother receives the groom by applying “tika” on his forehead and presents him with coconut, sweets, money and clothes. The groom in return applies tika on the brother’s forehead and gives him a coconut. The married women do an “Aarti” of the groom singing the “Mangala Geet”/auspicious song.
All the Jain brides wear only costly beautiful saris, the auspicious color being red or any other bright colors. She looks more attractive in a clinging matching blouse and traditional jewelry. She wears the jewelry as per her wish and choice depending upon the traditions followed in the state she belongs. The jewelry include gold necklaces studded with semi-precious stones or pearls, gold and glass bangles, earrings, diamond finger rings, noserings, etc.
The traditional costume of the groom is either Kurta-Pyjamas or Dhoti-Kurta with or without a turban.
Marriage rituals include “Kanyavaran/Kanyapradan” in which the bride’s parents or uncle keep one rupee and twenty –five paise (Indian Coins) and rice on the right hand of the bride and the father will publicly announce the formal giving away of his daughter to the groom to all those present there. At this time the priest pours water on the hands of the bride and groom and chants the mantras three times.
An auspicious time is fixed for the ritual “Phere” and the bride and groom are seated in the ‘mandap’/altar, the girl at the right side of the groom. They change their positions when they finish the seven vows. After the ‘Phere’, “Havan” begins wherein several mantras are chanted and recited and offerings are performed. At the end ‘Shanti mantra’ for peace is chanted nine times.
Granthi Bandhan, coming after Havan, has a married woman tying the corner of the pallu of the bride’s sari to the shawl of the groom along with the reciting of a mantra. Then the couple makes four circles of the fire, the bride leading during the first round. They exchange their seats The recitation of ‘Mahaveerakshak stoot’ could be heard in the background and the women sing the ‘Mangal Geet’ at that time.
After the rounds when the couple exchanges the seven vows one after another the priest asks the bride to sit on the left of the groom. Hereafter she will be known as Vamangi, meaning the left half of the body. The couple exchanges garlands and the ‘havan’ concludes with the Shantipath and Visarjan.

After marriage parents and relatives bless the couple along with the priest chanting a mantra. Now the bride gets ready to leave her house for her husband’s house.

No comments

Gujaratis, all over the world, find pride and happiness in celebrating their festivals. So it is no wonder, as far for wedding Gujaratis follow all the customs that are fun-inseparable from the traditional Gujarati marriage.

Gujarati wedding is indeed a ritualistic concept as witnessed by a lot of fun-filled rituals and many a pious occasion. Gujaratis begin their weddings by offering prayers to Lord Ganesha for His blessings.
Ghari Puja, the first and the most important ritual of Gujaratis, conducted on the eve of the wedding day, is carried out in the houses of the bride and the groom separately while the priest does the prayers with rice, coconut, wheat grains, oil, betel nuts, turmeric and such spices/ The purpose of this ‘puja’ is to remind the groom that although his lifestyle changes he should always be prepared to give to charity and help the less privileged people.
In their bridal finery the mothers of the bride and groom carry an earthen pot of water on their heads and walk to the threshold of their houses. Then the son-in-law of each family will break the pot of water with a knife to ward off any evil influences. The friends and relatives decorate the parents with garlands of flowers and money. Again, the friends and relatives tear off the old clothes worn by the bride and the groom, indicating the end of their old life.
“Ponkvu” marks the arrival of the groom and is welcomed by the mother-in-law at the doorway, with performing the “Aarti”. She will try to ask him to accept her daughter in marriage by rubbing her nose at the door to the amusement of all.
“Madhuparka” is a ritual in which the groom’s feet are washed while he sits under the Mandap/altar and he is given milk and honey. Now an interesting custom follows in which the bride’s sisters hide his shoes away and upon promising an amount agreeable to them, they return the shoes at the end of the day.
Most Gujarati brides opt for expensive silk saris as their wedding costume, preferable color being red highlighted by matching traditional jewelry. The gorgeous sari is worn in a bit different way, in their traditional style. But recent trends show that designer bridal lehengas, available in various shades are gaining popularity and more and more modern brides go for stylish chic-looking lehengas. The bride is adorned with gold jewelry such as “Mang-tika”along the hair parting, a big circular nosering with a chain hooked into the hair and beautiful gold necklaces, gold and glass bangles and “Payal”/anklets.
The groom is attired in a traditional “dhoti-kurta”, but the present trends indicate a shift to designer Pyjamas-Kurta.
According to the Gujarati custom bride’s maternal uncle carries her to the mandap’altar where “Antarpaat”, a curtain, separating the groom from the bride is lowered and the two place garlands in each other’s .necks. Then the ritual, “Hasta Milap”, placing the bride’s hand over the groom’s takes place.
Marriage rituals involve joining of the hands, “Hathialo”, wherein a corner of the bride’s sari is tied to a scarf worn by the groom and the right hands of the couple are tied with a holy thread, supposed to be an eternal bond joining them forever. They then seek God’s blessing for their union and pray to give them strength. In Varmala ceremony a cord is tied around their necks to safeguard against evil spirits. To conclude the bride’s father gives his daughter away to the groom in the Kanyadan ritual. Next the newly weds, in “Mangal Phera”make four circles, symbolizing the four cardinal principles of life, Dharma/Justice, Artha/Livelihood, Kama/Love and Moksha/Salvation, of the auspicious fire.

After marriage rituals include “Soubhagyavathi Bhava” in which the elderly married women of the girl’s side give “Ashirvad”/blessings by whispering into the right ear of the bride and “Vidaai”, the painful departure of the bride to her husband’s house.

No comments

The Punjab, a North Indian State, is well-known for its lavish festivals and colorful weddings. Punjabis usually hold their weddings in hotels or banquet halls and in cities like New Delhi huge decorative tents known as “Shamianas” are erected to host weddings and the receptions frequently.
Pre-wedding rituals include “Thaka”/”Roka”-announcement of the wedding is performed at the bride’s house where the boy and girl give their consent to get married to each other. “Magni”/”Sagaai”/”Kudmai” is the formal engagement wherein the bride and groom exchange rings in the presence of a “Pujari”/priest, relatives and close friends and the date for the wedding is also finalized after the “sagaai”.
“Sagan” and “Chunni chadana”-dressing up and blessing of the bride-are usually conducted together in a banquet hall or a club. The priest performs a “havan” and the bride’s father applies a “tilak” on the groom’s forehead. The bride is attired in the clothes and the jewelry gifted to her by the groom’s parents.
In Ladies “Sangeet”/music family members and relatives sing several songs to tease the groom’s mother and other members of his family.
“Mehendi”/Henna ceremony is held both in the bride’s and the groom’s houses. The mehendi is sent to all present for their blessings after which it is applied on the bride’s palms and she leaves the impressions of them on the wall behind her. Now-a- days a paper is pasted to protect the wall. After cleaning her palms, “Mehendiwalli or henna artist decorates her palms and feet and her female relatives’ and friends’ palms with intricate and beautiful patterns. Mehendi is smeared onto the palms of the groom and washed off immediately. Then the henna artist decorates the palms of the women in his family. This ceremony is accompanied by ladies singing and dancing to the beat of “Dholak”-a small drum.
The ritual “Kangan Bandhana” involves the tying of the sacred thread “mouli” to the right wrists of the bride and the groom on the wedding morning. An iron “Challa”/bracelet, turmeric sticks, betel nut and “kaudis”/shells are tied to the ‘mouli’.
For the “Chuda Charana” ritual the priest performs a “havan” and after the ‘puja’ the “Chuda”, a set of red and cream ivory bangles, is touched by all present for their blessings and the bride slips the ‘Chuda’ on her wrist followed by an iron bangle with shells and beads and a ‘mouli’ tied by the priest around her wrist. The girl’s maternal uncle, aunts, cousins and friends tie “Kaliras”(gold, silver or gold-plated traditional ornaments) to the ‘Chuda.’
Two days before the wedding, wearing old clothes the bride sits in the vicinity of four lighted oil lamps the glow from which is reflected on her face. In the ritual “Ghara Ghardholi”, held on the wedding morning, the bride and the groom in their respective houses are bathed by a pitcher of water brought from a nearby temple by a relative. A paste “Vatna”/”Uptan” (a paste of turmeric powder and mustard oil) is applied on their bodies before bath.
The bride’s mother, female relatives and friends help her to dress up for the wedding. Most of the Punjabi brides go for heavily embroidered Punjabi Patyala suits, Salwar-kurta/churidar-kurta in traditional red, pink, maroon etc. These days Indian Punjabi brides could be traced in saris and lehenga-choli with rich embroidery, stone, sequence or zari work and in auspicious colors like red, orange, magenta or maroon. Punjabi brides are adorned with heavy and chunky gold jewelry embedded with colored stones. Knowing their passion for gold the jewelers exhibits a wide range of beautiful and intricate designs in necklaces, bangles, fingerings, earrings, anklets and toerings for the brides. They also wear attractive nose-pins and hair ornaments.
The groom could be seen in traditional “Sherwani” in light brown with heavy embellishments or cream with a matching “Churidar”. His sisters tie the “Sehra”, a veil of golden threads onto his turban. The groom is taken to the richly caparisoned mare or a decorated car for the “Baraat”-the wedding procession.
When the ‘baraat’ arrives at the entrance of the bride’s house it is greeted by the male members of the bride’s family, followed by the exchange of garlands between the couple.
The “mahurat” or the auspicious time for the wedding takes place only after the dinner. The priest first conducts a “puja” for the groom who chants a few mantras. The priest then conducts another ‘puja’ in which the couple and their parents take part. The bride’s father gives his daughter away to the groom in the ritual “Kanyadaan” followed by the “pheras/circles around the sacred fire, tying the bride’s sari to the groom’s “pagdi”, using a red ‘chunni’. The newly-weds seek the blessings of the elders by touching their feet.
Before the bride leaves her house she lights an earthen lamp or switches on all the lights. She then takes “Laju”, puffed rice (a sign of prosperity) in her hands and showers on all her family members over the top of her head. She continues doing this till she reaches the palanquin or decorated car waiting to take her to the groom’s house. The couple is welcomed by the groom’s mother, doing the “Aarti” with a pitcher of water. Then the bride kicks mustard oil kept on the sides of the entrance door with her right foot before entering the house.
The couple unties each other’s bracelets in the presence of all family members and the new “bahu” (daughter-in-law) is introduced to all who gift and bless her. The ceremony “Phere palna” has the newly weds visiting the parents of the bride next day and this occasion is marked by hoisting an elaborate LUNCH.

No comments

Jammu-Kashmir is the northernmost state in India and Kashmir, the “Paradise on Earth,”is especially known for its picturesque scenic beauty all through the world. Since Kashmir is situated in the eye-catching Himalayan Valleys snow-clad mountain peaks, stretching plains with flower beds and frizzy air and tall trees are not a rare sight. Kashmiris have entirely different traditions as seen in their folk-lore, costumes, culture and cuisines. Kashmiris are one of the colorful people on the earth.
Kashmir population is a mixture of Hindus and Muslims. The Hindu Brahmins/Pundits are divided into two main sects—the Raija Pundits following non-vegetarian diet and the Shaka Pundits following a vegetarian one. But in both cases only the elders decide and arrange the weddings when the horoscopes of the girl and boy are found matching by the astrologers.
The pre-wedding rituals begin with the “Bhandawar” a string of mango leaves hung at the entrance of the house, a symbolic way of announcing the wedding. On this auspicious day floral designs named “Krool” are painted on the entrance wall using “Muttani Mitti” (white clay) soaked in water and mixed with various colors.
“Badia” ceremony involves the bride’s family sending “Badias”, small sun-dried salted cakes having holes in the middle with silver coins in them, to the groom’s family as an acceptance of the wedding between the two families.
During “Shagun” ceremony the “Vaza”/cook makes porridge of rice and finely chopped goat intestines and this special porridge is fed to all invitees. In the “Mehenze Raat”/Mehendi ceremony, performed in the night, intricate, beautiful designs are made all over the palms, forearms and the feet up to the ankles of the bride.
The groom’s family shows the first acceptance of the wedding by sending jewelry, created entirely by flowers like fresh red roses and jasmine, to the bride’s family and the bride is decorated with jewelry like flower necklaces, earrings, the tikka, anklets, waistband, armbands etc.
Every evening till the wedding “Wanvun”- a music session- is held in the bride’s and groom’s houses. “Devgun”, a ritual held simultaneously in the houses of the girl and boy, has six unmarried girls tying curds/yogurt in a muslin cloth and holding it over the heads of them pour water through it to bathe them. While the “Pundit/priest conducts a puja around the sacred fire, “Dajeharooh”, a sacred thread is passed through the hole in the middle ear cartilage of the bride signifying she is now ready for the matrimony.
In an evening function the groom’s family sends a carved decorated wooden chest containing “Sanz varu/decorative things like “Pashmina Shawl” and cosmetics for the bride. In the ritual, “Sehera bandi” the groom’s brother-in-law helps to tie the traditional head-dress called “Pagadi”, stitched from Banarasi silk material and the floral veil “Sehera for the groom.
The costume is very elaborate for the Kashmiri bride. She wears a headwear,”Tarang”, with a long cap called “Kalpush” that is folded 2-3 times and has silk or cotton lining from inside. Over the cap she wears the beautiful bridal ‘dupatta.’ “Tarang” has two pins with black and golden heads fitted into it. The Kashmiri brides go for a tight trousers and heavily embroidered “Kurta.” A belt called “Haligandun” with embroidery on the loose ends is tied to the bride’s waist. The bride wears traditional jewelry all made of silver. The necklace is a silver chain with heavy pendants having intricate motifs and designs carved on them. The heavy earrings are shaped in the form of a bell. The necklaces and earrings are usually embellished with the gem, sapphire. The bride’s dupatta, fringed with gold threads and sequins, acts as a frame for her head ornament, plaques of beaten and incised silver with its pendants falling below the eyebrows. Noserings and studs are also very popular among Kashmiri brides. The ornaments are made more attractive with designs made of mirror and beads. She wears an interesting almond-shaped gold ornament, presented by her maternal uncle, known as Dejihorn having two holes and hangs from a red cotton thread tied at the hole in the centre of the ear lobe.
The traditional wear for the groom is a “Pheran” and a waistband, the other accessories being a sword at his waistband and “Paazar” (embroidered local shoes) on feet.
“Lagan”, the actual wedding, is fixed either during “dohlagan/daytime or rotlagan/night time. When the groom’s procession reaches the bride’s house the bride’s people extend a warm reception to them and the priest leads them to the wedding altar. In the wedding ceremony the bride and groom sit along with the priest who describes their duties in front of the sacred fire followed by a ritual, “”Athulas”, wherein the couple crosses their arms one over the other and holds hands while their hands are covered with a cloth. “Mananmal”, a golden thread, is tied to the foreheads of the boy and girl and their left feet, one upon the other, are placed on a “kajwat”/a grinding stone. Then they make the first “Phera”/round around the fire by stepping on seven one rupee coins placed in a circle and the remaining six circles are made while the Vedic mantras are chanted. The wedding ceremony comes to an end with the bride and groom feeding each other some food of rice.
Post wedding rituals include “Vidai”- departing of the bride to her husband’s house, “Satraat- revisit of the couple to the bride’s house for dinner the same evening and “Valeena”/reception- the groom taking his new wife to his house for the reception hosted by the groom’s family.

No comments

Arya Samaj, a Hindu Reform Movement, was founded in India by Swami Dayananda in 1875. “Make This World Noble” is the first and foremost aim of the Samaj. The rituals of the Arya Samaj wedding are not elaborate, though the rites are few they are very rich in significance. A unique feature of this wedding is that the meaning of the Vedic mantras/hymns, chanted during the process, is explained to the couple so that the importance of the hymns is not wasted. Any one from any religion can opt for an Arya Samaj wedding and the pre and the post-wedding rituals are performed on the regional and cultural basis of the couples. The Arya Samajis give utmost priority to “Agni”/fire worship in their weddings and the rituals are performed with “Agni”/fire as the main witness. The weddings emphasize the change of the couple from “Brahmacharya ashram”, the state of celibacy to Grihastrashram”, the life of married people.
Pre-wedding rituals include a music session held at the bride’s house a few days prior to the wedding. Bride’s girl friends and female relatives participate in this session, singing folk and wedding songs.
Mehendi ceremony, performed on the eve of wedding at the bride’s house, has a friend or mehendi artist applying henna/mehendi on the bride’s hands and feet in beautiful and intricate designs. Henna is applied on the hands of the female friends and relatives too.
“Brahmbhoj”, feeding sixteen Brahmins on the morning of the wedding, is considered very auspicious by the Arya Samajis. On the wedding day, the bride’s maternal uncle puts on red ivory bangles on her wrists and helps her wear a large circular nose ring/’nath’, a ritual practiced by North Indians, like the Punjabis.
Usually the bride wears a resplendent red or any bright color sari she selects for her wedding, but she can opt for a flowing flare lehenga-choli or a chic-stylish salwaar-kameez depending upon the customs of the state she belongs. Similarly there is no compulsion for her to wear a particular set of jewelry. She prefers to wear the traditional gold ornaments of her state such as necklaces, bangles, earrings, noserings, anklets, toerings etc.
The groom also wears the costume of his choice like dhoti-kurta, kurta-pyjamas or dhoti-angavastram. He may or may not wear a turban.
The wedding ceremony starts in an Arya Samaj wedding hall with the exchange of garlands between the bride and the groom. She gives him a pitcher of water with which he washes his feet, hands and lastly face, showing how a good wife should welcome her husband. Next the bride puts a mixture of curd, ghee and honey, an Ayurvedic medicine for any imbalances in the body, into the groom’s cupped hands and he scatters it in all directions and eats the remaining mixture, the ritual being known as “Madhupark se satkar.” This rite highlights the duties of a wife and a husband, how the wife should feed and nurture and the husband should provide for their family.
The groom is given the sacred thread to wear and the “Yagnya”, symbolizing the worship of fire, starts. In “Kanyadaan” the bride’s parents give away her to the groom’s family with the priest chanting Vedic mantras, repeated by the couple holding their hands together. At the end, the couple makes a “phera”/circle around the fire. “Pratigya Mantra” sees, holding hands together, the couple takes wedding vows and walks around the fire.
The ritual “Shilarohan” has the bride’s brother places her right foot on a stone while the groom chants mantras/hymns. He wants his sister’s married life be as strong, firm and steadfast as the stone and by offering puffed rice he assures her that she can take back plenty after each visit to her parents’ house. “Parikrama” is a ritual in which the couple makes four “pheras”/circles around the fire, the bride praying for her husband’s health and also for a happy healthy marital relationship with him. The groom, on his part, vows that he will show reverence and respect to all women.
“Kesh Mochan” is a unique ritual with the groom undoing his wife’s hair to let it fall down freely. In a mantra/hymn he promises that his actions would never hurt her and make her separate from him. “Saptapadikriya” involves tying the ends of the bride’s sari and the groom’s shawl and the seven steps taken by them, signifying the seven things essential for a peaceful happy married life.
The other important rituals are “Suryadarshan’-worship of sun by the couple, “Hriday Sparsh”-touching each other’s heart, an indication to be tender and kind with one another, “Sindoor Daan”-applying “kumkum”/vermilion along the parting of the bride’s hair by her husband three times and “Dhruv Darshan”-viewing the star “Dhruv”/The Pole Star, known for its constancy, by the couple and the Great Bear Constellation, made up of two stars-“Arundhati” and “Vasisht”, never separated from each other.
In the post-wedding ceremony, the sister-in-law removes the “chudha”/bangle worn by the bride on the wedding day after a couple of months (the actual time period is one month to one year depending on one’s custom) and she gifts her with another set of clothes and jewelry on the same DAY.

No comments

Weddings in Tamil Nadu, a Southern Indian State, are simple, not extravagant and usually well-attended by a large number of relatives and friends. The rituals followed by the Tamil Brahmins are somewhat different from other communities.
An arranged marriage starts with exchange of the horoscopes of the girl and boy and if the horoscopes match well, on mutual consent, a date is fixed for the engagement ceremony to be performed in the groom’s house. On that day priests from both sides meet in the groom’s house and conduct the marriage agreement by exchanging plates containing bananas, coconuts, betel leaves, betel nuts and flowers between the two families. The groom’s mother gives a silk sari to the bride and the groom gets clothes or cash from the bride’s parents.
Palikai Talikkal is a unique ceremony performed by the bride’s family two days prior to the wedding. Five or seven married women from both families put nine types of grain into special clay pots and water them. On the next day after wedding the newly weds throw them into a river or pond/ There is a belief that the fish in the water will eat the sprouted grains and bless the couple.
A small ritual “Panda Kaal”, invoking the blessings of the family deity and “Vratham”, invoking the blessings of the ancestors are performed before the wedding day.
When the groom’s party arrives at the wedding hall one day prior to the wedding the bride’s brother applies a “bindi” of sandal paste and vermilion to his forehead and garlands him. In the age old “Janavaasam” ceremony, the groom is seated in a decorated car and is taken to the wedding hall followed by a large number of relatives and friends with the musicians playing the traditional wedding songs. At the entrance he is welcomed by the bride’s brother with garlands followed by “Nicchayathamboolam” in which the groom’s family offers a costly beautiful silk sari and jewels to the bride. When she comes wearing this sari the groom’s sister applies sandal paste and kumkum/veimilion on her forehead. The “Sastrigal”/priest reads the wedding invitation containing the wedding date and time/’Muhurtham’ and the venue etc.
On the wedding morning the bride and groom have an auspicious holy bath/”Mangala Snanam” in their respective homes. Wearing the ‘Veshti’ in the traditional custom known as “Pancchakaccham” and an “Angavastram” draped over his shoulders the groom prepares for “Kasi Yatra”/Pilgrimage to Kasi, a holy place in North India, renouncing all worldly pleasures. He wears ordinary slippers and holds an umbrella, a walking stick, a shoulder bag and a hand fan made of palm leaf. The girl’s father intercepts him offering his daughter in marriage.
The bride and groom exchange garlands amidst fun and frolic and are seated side by side on an “Oonjal”/ swing. Married women perform certain traditional rituals with singing in the background,
In the “Kanyadaanam” the bride sits on her father’s lap holding a coconut in her hands and the mother pours water over the coconut that symbolizes the giving away of their daughter. The bride and her father hand over the coconut to the groom with the chanting of Vedic mantras/hymns by the priest.
Now the bride changes her sari and comes back in the nine yards “Madissar Pudavai”/sari given by the groom’s family. She wears this sari in the traditional style with the help of the groom’s sister. The sari has thick zari border and the auspicious color could be deep red or reddish yellow. The bride is adorned from head to toe with traditional as well as modern jewelry. The head pieces include “Netti chutti” along the parting of the hair, ”Suryaprabha” and “Chandraprabha” on either side of the parting, a “Rakkudi” and “Thirukkuppu” on the back of the head while the hair is fully covered with jasmine and other scented flowers. Her ears have “Jhimki” with supporting “Mattal” or “Vairakkammal”/diamond earrings with “Mattal” She wears “Nath”/nose rings on the nose and pillakku from the parting of the nostrils. Various types of necklaces adorn her neck and both her hands dazzle with plain and stone or pearl- studded bangles. The waist band is known as “Oddiyanam” embellished with stones or pearls. All these ornaments are made up of gold except the silver “Golussu”/anklets. The bride gets her silver “Metti”/toerings only after the ‘mangalasutra’ ceremony when the groom puts them onto her toes.
For the most important part of the wedding, the bride sits on her father’s lap and the groom ties the “Mangalasutra”/”Taali”, the sacred yellow thread around her neck with one knot while his sister ties two, the three knots denoting the union of mind, spirit and body. Musical instruments, “Nadaswaram and “Melam”/”Thavil” play in the background and the gathering bless the couple with showering flowers and “Akshathai”/rice, dipped in turmeric, on them.
Holding the bride’s right big toe, the groom makes her take seven steps and places her right foot on an “ammi’, a grind stone, indication of a strong and everlasting bond between them.
Exchange of clothes and gifts between the two families and offering of “Nel Pori” to the sacred fire by the bride’s brother are some other rituals.
The final ritual sees the bride bidding farewell to her house and entering her husband’s house with her right foot first after the traditional “AARTI.”

No comments

In Kerala, the Southern most state of India, most Hindus except the malayali Brahmins follow the same basic traditional customs with slight variations depending upon the caste and community in conducting their weddings. They are very simple with few rites and rituals.
Pre wedding rituals start with the comparison of the horoscopes of the boy and girl by their family astrologers and if they found matching an auspicious date for the engagement ceremony known as “Jathakam Kodukkal” is fixed, In the engagement ceremony, held at he bride’s residence, the official announcement of the wedding takes place before a gathering of close relatives and friends and the wedding date is also finalized. The presence of the groom and bride are not required.
Traditionally the weddings were conducted in the bride’s house, but now they are mostly held in temples (places of worship) or wedding halls, The wedding altar, “Kathirmandapam” is completely decorated with flowers and two tall “Nila Vilakku”, a lamp lighted by oil and thread, a tray of jasmine or rose flowers, and a “Kindi” a type of vessel with a spout having water in it, are placed at the entrance. “Para, a cylindrical wooden vessel used for measuring purposes, with full of paddy and a bunch of coconut flowers inserted in the midst of it, is also kept in the “mandapam”.
On the day prior to the wedding the “Mangalasutra”/”Alilathali” (a yellow thread intertwined with a strong gold thread having a tiny pendant in the shape of a banyan leaf) is kept before the deity of the Goddess in a temple and the priest offers ‘pooja’/prayer three times. On the wedding morning when the bride and a close relative like aunt, sister etc go to the temple the priest hands over the “thali” to the relative.
Before the wedding ceremony the bride’s brother gives a warm reception to the groom by washing his feet, sprinkling ‘panineer’/rose water and applying sandal paste to the forehead of the groom. He also gives the groom a lemon, garland and bouquet and escorts him to the ‘kathir mandapam’. At the entrance the groom is welcomed by 5, 7, or 9 girls showing “Ashtamangalyam”, a tray containing flowers, betel nuts, vermilion powder, an Indian coin and a small lighted lamp. The groom wears a white/off white “Mundu”,/Veshti/Dhoti and “Jubba”, a full-sleeved, close-neck top longer than a shirt with side slits.
The bride also receives the same kind of welcome when she arrives at the mandapam. Both the bride and groom offer flowers to the “Nila vilakku three times. The traditional wear of a bride is a two piece white/off white sari called “Set Mundu” with a thick zari border. But present brides wear very expensive Kancheepuam silk saris with thick zari border and the body embroidered with golden threads. The matching blouse/choli clings to the body making the bride more enchanting. The color of the sari could be either bright like red, maroon, magenta, deep green, navy blue, deep yellow etc or any pleasing light ones except white or black. She is adorned with traditional jewelry such as “Netti Chutti”, worn along the parting of the hair, golden “Jhimki and the supporting “Maattal” on the ears, stone studded “Tirukkuppu” on the hair at the back of the head and gold necklaces like “Nagapada thali”, “Palakka mala, “Laxmi thali and “Kasu mala”. The modern brides prefer “Palakka mala” designed in a different way, light-weight fashionable necklaces and “Pavan mala” of gold. She also wears plain and stone-studded bangles on both hands, gold “Padaswarams”/anklets and a gold hip chain/waist band embellished with stones and pearls.
The bride and groom are seated in the wedding altar, the bride on the left side of the groom, and the groom just places the ‘mangalasutra around her neck while the ritual is completed by the groom’s sister who ties the knots followed by the exchange of rings with the names of the bride and groom on them. Now occurs the most important ritual of the wedding, “Pudava Kodukkal” in which the groom offers a very expensive “Pudava” along with an equally dazzling sari to the bride and adorns her neck with a costly beautiful necklace. The couple exchanges garlands and in the “Kanyadaan, placing a betel leaf on the right hand of the groom the bride’s father keeps her right hand over it. The couple makes three “pheras”/circles around the ‘mandapam’ altogether. Before leaving the venue the groom’s mother gives a small box of vermilion powder to the groom and he applies a vermilion ‘sindoor’/’bindi’ to the bride’s forehead below the parting of the hair.
In the last ritual “Grahapravesh”, the couple proceeds to the groom’s house where the bride is received with an “Aarti” by her mother-in-law and she steps into the house with her right foot first.

No comments

The natives of the North Indian state Rajasthan, Rajputs, believe that they are the direct descendants of the Kshatriya clan, the original Aryans. The word “Rajput” means king’s son or prince and so one can see glimpses of royal touch in their weddings filled with richness and extravagance.
In the pre wedding rite ‘Tilak’ or the engagement ceremony, performed at the groom’s house and attended only by the male members of the bride’s family, the bride’s brother applies a “Tilak”/”Bindi” to the groom’s forehead so that the engagement becomes official. The gifts given to the groom include a sword, clothes, fruits and sweets.
“Ganapath Sthapana” the installation of an idol of Lord Ganesha and “Griha Shanthi”, performed to propitiate the Gods are also very important rituals.
“Pithi Dastoor,” is a ritual for the bride and the groom held in their respective houses. From seven days before the wedding, each day a paste of turmeric and oil applied to their faces, arms and feet till the wedding day. Once this ceremony begins they are banned to leave their houses.
During the Pithi Dastoor and through out the wedding ceremony women singers like ‘dholans’ with ‘dholaks’and ‘mehfils’ and male ‘mehfils’ sing various auspicious pre wedding and wedding songs for men and women separately in the homes of the bride and groom. The musical instruments like ‘Shehnai’ and ‘nagara’ are played in the courtyard or garden.
In the ceremony “Mahira dastoor” the maternal uncle of the bride or the groom gives clothes, jewelry and sweets to the whole family. “Janey” ceremony is important for the groom as he wears the sacred thread on the eve of his wedding, dressed in saffron. The “Padla dastoor”, a custom observed only by the Rajputs, is held a day prior to the wedding or on the wedding day wherein the groom’s relatives bring gifts like clothes, jewelry etc for the bride to wear during the wedding ceremony.
The bridal costume is a resplendent traditional Rajasthani “Poshak” for the wedding ceremony usually red in color, but orange, yellow, gold and pink ‘poshaks’ are also preferred. The bride wears certain traditional jewelry that have their own significance. The “Rakhri”, a circular piece worn on the forehead at the parting of the hair emphasizes that she should always be straight forward. Her ears have danglers that advise her never to listen to gossip. “Timaniyaan”, a choker encrusted with uncut diamonds indicate that she should always show humility by bowing her head. A set of ivory and gold bangles, ‘chudda’ tells her to help the poor and needy. She also wears gold and stone-studded “bajuband”/armlets, gold anklets reminding her to ‘put the right foot forward’, gold toe-rings known as “bichhiya” and a stone-studded “nath”/nose ring tells her to spend within what her husband can afford.
The Rajput ‘baraat’/wedding procession, an all male affair, has the groom dressed in a gold “achkan”, an orange turban decorated with a ‘sirpech’, a ‘churidar’ or jodhpurs and ‘jootis’/shoes that are highlighted with a necklace and a cummerbund. The groom proceeds to the wedding venue mounted on a decorated mare or elephant along with a child and sporting a sword. The male members from his family carrying swords and a band playing the hit songs accompany the groom.
The males in the bride’s family welcome the groom’s party and the groom is taken to the ladies section where bride’s mother receives him with the traditional “Aarti” and directs him to the wedding altar. A “Pujar”(Brahmin priest) officiates the wedding ceremony by lighting the sacred fire and chanting Vedic mantras/hymns. Tying the groom’s shawl to the bride’s ‘duppata’ or veil the couple walks around the fire seven times/seven ‘pheras’ at the end of which the groom adorns the bride’s wrist with green glass bangles. The bride all the while wears a veil over he face.
When the bride leaves her house for the “Grihapravesh” ceremony the groom’s family blesses her with showering flowers and coins. The bride enters the “Sasural”/father-in-law’s house with her right foot first followed by certain games between the bride and groom. In “Pagelagani” the veiled bride is introduced to all family members ending with the removal of the VEIL

No comments

The Hindus in Karnataka, a South Indian State, follow almost similar rituals and customs with slight variations that depend on the caste and community. In the usual course, the wedding is conducted at the bride’s residence, but for convenience certain weddings are held at the groom’s place as well.
Pre-wedding ceremonies include “Vivaha purvakrithayam,” done prior to the wedding day, in which the parents of the girl and the boy, after bath, wear new dresses usually white and recite mantras followed by the ritual “Seemanthpoojanam” that has the bride and her parents visiting the groom’s house with gifts. There certain mantras are recited and the groom is gifted with new clothes, sandals and a garland.
In “Varasya Vadhu Grahagamanam,” the groom in new clothes, preferably white in color, and a garland seeks the “Kuldevta” or family deity’s blessings as well as the blessings of his parents and the elders in his family after which he proceeds to the bride’s house seated either on a decorated white horse or in a car with the accompaniment of the relatives, a white umbrella held out over his head. On arrival at the bride’s house, the bride’s father and uncles extend them a warm welcome and direct them to the “Mandap Karyalaya” where the accommodation for the groom’s people is arranged. “Gathi Tala” is performed playing the musical instruments such as ‘mridangam’, ‘dholak’ and ‘shehnai’.

The wedding reception is a social function with hardly any religious significance attached to it. The bride’s family gives the groom various gifts such as gold chain, ring, pendant /bracelet and silver idols of deities. The gifts given to the bride from the bride’s side include mainly household articles like utensils, mattresses etc in addition to gold jewelry and silver vessels. The groom’s family gives the bride silk saris, one in yellow, one in red/maroon and one in white, and jewelry including chains, rings, noserings, earrings, bracelets and the ‘Mangalsutra’, all in gold and silver “Kalungar/toe rings.

Five married women, usually the bride’s maternal aunts, referred to as “Muthaidi” receive the groom by performing an “Aarti” after which they lead him to the “Vivaha Mandap”/wedding altar for the “Madhuperk ceremony”. The groom is attired in their traditional silk“Veshti”, “Kache Panche” and a silk shirt-like top known as “Maguta“ with a turban-“Pheta” and carries in his right hand a stick, sanctified in a holy place. A“Prasad” consisting of a mixture of honey, rice and curd is offered to Lord Vishnu (by the followers of Lord Vishnu) or Lord Shiva (by the followers of Lord Shiva). Now the bride’s father gives a little of this “Prasad” to the groom to eat. Meanwhile, after ‘mangal snan’ (bath) in a new white sari the bride performs ‘Gourihar pooja’ at her residence, offering prayers to Lord Shiva and Goddess Parvathi and accepts the change from an unmarried to a married woman by applying turmeric powder on her hands.

The bridal costume consists of an off-white “Nayari” sari with zari border and a matching choli/blouse. She is adorned with traditional ornaments like “Surya” and “Chandra” on the sides of hair parting and “Moggu Jade”, along the plaited hair. She has “jimki” on her ears and necklaces like “Kasinsara” made of small gold coins with Goddess Laxmi’s figure on them and a two/three-layered thick chain-“Addige” with ruby-studded pendants around the neck. Karimani (Mangalasutra) is made up of alternate black and gold beads with two “Mangalya”/pendants, one from each family. Her hands are filled with gold and glass bangles, especially green ones. Other trinkets include “Oddiyana”-waist band, “Baji bandh-a gold band worn on the choli sleeves and “Kaladdige”-thick rounded gold or silver anklets.

Wedding rites start with “Kanyadaan”in which the bride’s father or guardian pours holy water into the sacred fire lit at the altar that symbolically shows the giving away his daughter to the boy. The groom chants Vedic mantras (hymns) and assures the bride’s father that he will help the bride in the realization of the three ends-dharma/justice, artha/prosperity and kama/love.

In the “Paanigrahana” ceremony the groom stands facing the west while the bride sits in front of him facing the east. Holding her hands he chants mantras for lifelong relationship and happiness. The bride’s brother places food on her hand and she throws it gently into the sacred fire for the blessings of the Gods.

During ‘Agni parinayaa,’ holding hands the couple walks around the nuptial fire three times praying Gods for prosperity and conjugal happiness. Touching each other’s heart they pray for the joining of their hearts and minds. On completion of each round of the fire the couple steps on a stone and prays that their love be as strong and steadfast as the stone after which the bride takes fried grain from the mouth of a winnow and pours it into the fire.

In the most important Kannadiga wedding rite, “Saptapadi”, the couple takes seven steps around the fire making seven promises to each other, necessary for a happy and everlasting married life. After offering a prayer for their lasting union the groom and bride are pronounced husband and wife. The groom ties the “Mangalsutra” around the neck of the bride with the blessings of all showering flowers on them. The groom’s parents bless the couple and gift new clothes and flowers to their new daughter-in-law. Then they proceed to the groom’s house carrying the sacred fire lit in a lamp along with them. Placing her right foot first the bride enters her new house and is received by her mother-in-law taking an “Aarti.
The couple keeps silence till dusk and when the stars appear the groom shows his wife the “Sapta Rishi Mandal”/The Great Bear Constellation.

No comments

Kerala, the southernmost state of India, is very different from other Indian states in many ways. Keralites, popularly known as Malayalis, even though educationally and culturally very much advanced, are very simple in every field. This simplicity is visible in their wedding as well. Pre, during and post wedding rituals are very less and all the traditional rites and rituals will be over within a short time.

A typical Malayali Brahmin wedding begins with the exchange of the horoscopes of the boy and the girl by their parents and their family astrologers compare the horoscopes to see whether they are matching. If the horoscopes agree with one another the astrologer and the elders of both families finalize the “Muhurtham” or the auspicious date and time for the wedding.

The engagement ceremony, popularly known as “Nischayam” is the date fixed by the elders to announce the day of the wedding to the family members and friends. The presence of the prospective bride and groom is not necessary on this occasion.

A dinner, the traditional feast known as “Sadya” is served the day prior to the wedding at the bride’s place where the bride is seated facing the east and she along with her family members is served a five-course vegetarian meal.

The wedding rites are very short with no religious compulsions. The costume of the bride is the traditional two piece sari known as “Mundu” worn in their traditional style or any other expensive silk sari of her choice. The off-white ‘Mundu’ has very thick “kasavu/zari” border and the body also embroidered with golden thread. The blouse is made with a bright costly material, decorated with zari works. The bride wears a line of gold necklaces, specially a “Kasumala” around her neck and a lot of gold bangles in exquisite designs on her hands. Other jewelry includes stone-studded rings for fingers, silver or gold “Padaswarams”/anklets and arm bands. Her hair is adorned with plenty of natural flowers like jasmine. The groom arrives at the bride’s ancestral house in a ‘dhoti’ worn in their traditional style and an ‘Uttareeyam’, a piece of cloth, draped over his shoulders, complimented with gold chain, bracelets and finger rings.

The marriage ceremony is performed in a north-western room. The bride’s father welcomes the groom by washing his feet. The groom gives an off white ‘Mundu’ or sari to him, the groom’s gift to his bride. It is in this sari that the bride appears for the wedding rites.
The wedding ceremony known as “Veli” is conducted around the ‘agni’ or sacred fire. The couple makes three circles around the ‘agni’ after which the groom ties the “Mangalasutra/Taali, strung on a yellow cord, around the bride’s neck. In a ceremony known as “Kanyadaanam” or “Penkodal” the bride’s father gives her hand to the groom, symbolizing the change over of the responsibility.

In the ceremony “Sparsham” the groom sits in front of the bride and tilting his head backwards he tries to touch the bride’s forehead, symbolizing the joining of minds. Then the bride offers puffed rice known as “Laja” to the fire in the midst of chanting of various mantras. Keeping her palms in his hands she does the “homam”, the offering to the fire, after which lifting the bride’s right foot the groom places it on the “Ammi”, a grinding stone, an indication of breaking ties from her family. The groom then with his hand moves her foot seven times forward that symbolizes her entry into his family.

Soon after the wedding an elaborate vegetarian meal is served and then the couple leaves the bride’s house for the groom’s place, preceded by lamps in what is called “Kudicep”. When they reach the groom’s house the bride is welcomed by a ritual termed as “Grihapravesham”.

No comments