Saundarya as Saubhagya

Through the week one heard “Saundarya as Saubhagya” during the course of several lectures on Indian aesthetics. It was not very difficult for me to catch it, though I might just have an iota of understanding of Saundarya or Saubhagya.

When I say it was not difficult for me to catch the essence of “Saundarya as Saubhagya” it is because of the way I have seen my grandmothers live, speak, dress and lecture us on the lakshanams of a woman.

If we go by the plain English translations of the word, it can simply be beautiful and prosperous. But, their connotations in the Indian, or the Sanatanic tradition is deeper.

Saundarya is not just “beautiful” but there are qualifying concepts to it, definitions on probably what is Saundarya and what is not. Similiarly Saughbhagya may not be just “prosperous”, but more than that.

This Saubhagya had several symbols attached to it, and still has for majority of the non-metro women in India. From the Sindoor in the parting of the hair, the kajal in the eyes, the mangalsutra, the bangles, the toe-rings several symbols that attest to the aspect of Saubhagyavati.

Dr.Harsha Dehejia, renowned author on the subject told us where to begin our study of Indian aesthetics – start with Kashmiri Saivism, with Shiva’s marriage to Parvati. I am yet to embark on the study, but the concept of marriage pins me to the idea of Saubhagya that Indian women understood and believed at a mundane level.

‘Akanda Saubhagyavati raho’ is a common blessing elders bestowed, for the Saubhagyavati is taken in some sense to be having a living husband. The fasts, from Savitri vrata to the Karva Chauth all pray for this Saubhagya. ( I am not going to for the time being look at it from the 21^st century feminine perspective or the feminist principles of 20^th century)

The symbols of that Saubhagya as I said earlier were the sindoor, the mangalsutra and such. Once a colleague asked me have you worn a bindi all your life. When I answered in affirmative she said how commendable. Till then I had not even thought about it. For us in the Tamil households, the first bindi or the mark in the forehead happens soon after the newborn gets its first bath. It continues for life, may be a kumkum as a Saubhagyavati or a religious mark of vibhooti or srichurnam when she is rendered lonely with the passing away of the life partner.

Today, in the cities definitely the bindis have disappeared. Only the old ladies, some domestic helps, ladies from low income groups, or a few middle aged women sport them. Somewhere in the 80-s the plastic bindis invaded our lives, and it was a boon in a way for the humid tropics where keeping the bindi intake on the sweaty forehead was a difficulty. Today, even the number of bindi-sellers on the Mumbai locals have dwindled. I haven’t come across even one in the last few months since I restarted my commute on the Harbour Line.

Another casualty is the mangalsutra. It may be discarded either as a symbol of regressive culture or as a convenience to suit the fashion of the day. Obviously a western suit and a mangalsutra don’t go together. Do either of these category ever heard of “Saubhagya” from their mothers or grandmothers? 

How do mothers feel when they see their daughter discard mangalsutra in hours or days after marriage for a perfect honeymoon photo?

Can a CK watch or a Burberry Suit become the symbols of “Saubhagya”?

Why are the Hindu Gods and Goddesses fully adorned?

Not just the goddess as sarvabharanabushitam …. The homes are also adorned with various decorative features. The rangoli on the floor outside the home, the turmeric paste on the door frames to many other features. It is not that it has to be only expensive ornaments are silks that can characterize the “saubhagyata”. A few glass bangles, a rangoli, the flower arrangement or anything … the homes, or ladies never gave up the idea of the “saubhagyam”.