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A Tilaka ceremony in progress to welcome the groom at a Hindu wedding

In Dharmic culture, the tilaka (Sanskrit: तिलक) is a mark worn usually on the forehead at the most important chakra on the body called Ajna chakra, sometimes other parts of the body such as neck, hand, chest and arms. Tilaka may be worn daily or for rites of passage or special spiritual and religious occasions only, depending on regional customs.

The term also refers to the Hindu ritual of marking someone's forehead with a fragrant paste, such as of sandalwood or vermilion, as a welcome and expression of honour when they arrive.[1]

But in history, tilak was also used by other Dharmic cultures like Buddhism, Jainism and Sikhism as they were influenced by Hinduism and its spiritual and philosophical beliefs.[citation needed]


The tilaka is a mark created by the application of powder or paste on the forehead. Tilakas are vertical markings worn by Vaishnavites (a sect of Hinduism) . The Vaishnava tilaka consists of a long vertical marking starting from just below the hairline to almost the end of one's nose tip, and they are also known as Urdhva Pundra.[2] It is intercepted in the middle by an elongated U. There may be two marks on the temples as well. This tilaka is traditionally made with sandalwood paste.

The other major tilaka variant is often worn by the followers of Shiva, known by the names of Rudra-tilaka and Tripundra.[3][4] It consists of three horizontal bands across the forehead with a single vertical band or circle in the middle. This is traditionally done with sacred ash from fire sacrifices. This variant is the more ancient of the two and shares many common aspects with similar markings worn across the world.

File:A Krishna Devotee and an ISKCON member.jpg
A Vaishnav Woman wearing Tilak and distributing Spiritual Books.

Shaktas, worshippers of the various forms of the Goddess (Devi), wear a large red dot of kumkum (vermillion or red turmeric) on the forehead.


Chapter 2 of the Kalagni Rudra Upanishad, a Shaiva traditional text, explains the three lines of a Tilaka as a reminder of various triads: three sacred fires, three syllables in Om, three gunas, three worlds, three types of atman (self), three powers in oneself, first three Vedas, three times of extraction of the Vedic drink Soma.[5][6]

  • The first line is equated to Garhapatya (the sacred fire in a household kitchen), the A syllable of Om, the Rajas guna, the earth, the external self, Kriyā – the power of action, the Rigveda, the morning extraction of Soma, and Maheshvara.[5][6]
  • The second streak of ash is a reminder of Dakshinagni (the holy fire lighted in the South for ancestors), the sound U of Om, Sattva guna, the atmosphere, the inner self, Iccha – the power of will, the Yajurveda, midday Soma extraction, and Sadashiva.[5][6]
  • The third streak is the Ahavaniya (the fire used for Homa), the M syllable in Om, the Tamas guna, Svarga – heaven, the Paramatman – the highest self (the ultimate reality of Brahman), Jnana – the power of knowledge, the Samaveda, Soma extraction at dusk, and Shiva.[5][6]

These lines, represent Shiva's threefold power of will (icchāśakti), knowledge (jñānaśakti), and action (kriyāśakti).[7] The Tripuṇḍra described in this and other Shaiva texts also symbolises Shiva's trident (triśūla) and the divine triad of Brahmā, Vishnu, and Shiva.[7]

The Vasudeva Upanishad, a Vaishnava tradition text, similarly explains the significance of three vertical lines in Urdhva Pundra Tilaka to be a reminder of Brahma, Vishnu, Shiva; the Vedic scriptures – Rigveda, Yajurveda and Samaveda; three worlds Bhu, Bhuva, Svar; the three syllables of Om – A, U, M; three states of consciousness – awake, dream sleep, deep sleep; three realities – Maya, Brahman and Atman; the three bodies – Sthula, Sukshma, and Karana.[8][9]


Examples of Tilaks or sect-marking in British India, summarised by 19th-century scholar Russell

Different Hindu traditions use different materials and shapes to make the tilaka.[10]

  • Saivites typically mark their Tilak using vibhuti (ash) in three horizontal lines across the forehead.[2] Along with the three horizontal lines, a bindu of sandalwood paste or a dot of red kumkum in the centre completes the Tilaka (tripundra).[3][11]
  • Vaishnavas apply a Tilak with vermillion, clay, sandalwood paste (Chandan), or latter two mixed.[2] They apply the material in two vertical lines, which may be connected at the bottom, forming a simple U shape, often with an additional vertical red marking in the shape of a tulsi leaf inside the U shape. Their tilaka is called the Urdhva Pundra.[2] See also Srivaishnava Urdhva Pundra, the Srivaishnava tilaka.
  • Ganapatya use red sandal paste (rakta candana).[12]
  • Shaktas use kumkuma, or powdered red turmeric. They draw one vertical line or dot (not to be confused with Bindi used by Indian women from different religions).
  • Honourary tilakas (Raja tilaka and Vira tilaka are usually applied as a single vertical red line. Raja tilaka will be used while enthroning kings or inviting prominent personalities. Vira tilaka is used to anoint victors or leaders after a war or a game.

Cultural tradition[edit]

Applying Tilaka on the forehead of guests to welcome and honour is a cultural tradition in India and Nepal.[1]
  • Jains use Tilaka to mark the forehead of Jaina images with sandalwood paste, during Puja ceremonies.[13]
  • Christians in India use Tilaka both to mark special occasions and during their worship rites. Many Hindus who have converted to Christianity due to Christian missionary work still participate in some traditionally Hindu cultural practices like Tilaka.
  • Hindus use the Tilaka ceremony to welcome guests and show them honour and respect.[1] It may also be used, for same reason, to mark idols at the start of a Puja (worship), to mark a rock or tree before it is cut or removed from its original place for artisan work, or to mark a new piece of property.[1][14]


The choice of style is not mandated in Hindu texts, and it is left to the individual and the regional culture, leading to many versions. The known styles include[15] Vijayshree – white tilaka urdhwapundra with a white line in the middle,[15] founded by Swami Balanand of Jaipur; Bendi tilaka – white tilak urdhwapundra with a white round mark in the middle,[16] founded by Swami Ramprasad Acharya of Badasthan Ayodhya; and Chaturbhuji tilaka – white tilak urdhwapundra with the upper portion turned 90 degrees in the opposite direction, no shri in the middle, founded by Narayandasji of Bihar, ascetics of Swarg Dwar of Ayodhya follow it. Sharma has named additional styles as, Vallabh Sampraday Tilak, Sri Tilaka of Rewasa Gaddi, Ramacharandas Tilaka, Srijiwarama ka Tilaka, Sri Janakraja Kishori Sharan Rasik Aliji ka Tilaka, Sri Rupkalajee ka Tilaka, Rupsarasji ka Tilaka, Ramasakheeji ka Tilaka, Kamanendu Mani ka Tilaka, Karunasindhuji ka Tilaka, Swaminarayana Tilaka, Nimbarka ka Tilaka and Madhwa ka Tilaka.[17]

In other cultures[edit]

  • Tilak In Jainism: A major Jain population put tilak on their forehead and also Jain women put bindi on their forehead.
  • Tilak In Sikhism: Sikh gurus are often depicted with a Tilak/dot on their forehead as a mark of enlightenment.
  • Guru Teg Bahadur Ji painting where he has Tilak on his forehead, Location: Lahore Museum, Pakistan

    Guru Teg Bahadur Ji painting where he has Tilak on his forehead, Location: Lahore Museum, Pakistan

  • Guru Arjun Dev Ji's Tilak ceremony

    Guru Arjun Dev Ji's Tilak ceremony

  • Guru Nanak wearing Tilak, reference from 19th century Janam Sakhi, Guru Nanak meets the Vishnu devotee Praladh.

    Guru Nanak wearing Tilak, reference from 19th century Janam Sakhi, Guru Nanak meets the Vishnu devotee Praladh.

Visible Tilak in Buddha Statue
  • In Buddhism: Putting tilak is not totally a Buddhist practice during these days but a Tilak does have had a place in Buddhist culture, and many statues of Buddha or related to Buddhism, and tilak can be seen in major paintings and statues of Buddha. Buddhism have philosophies of Chakra that's why there is tilak to represent one of the chakras on statues or Paintings of Buddha.

Relationship to bindi[edit]

The terms tilaka and bindi overlap somewhat, but are not synonymous.[18] Among the differences:

  • A tilaka is always applied with paste or powder, whereas a bindi may be paste or jewel.
  • A tilaka is usually applied for religious or spiritual reasons, or to honour a personage, event, or victory. A bindi can signify marriage, or be simply for decorative purposes.
  • A bindi is worn only between the eyes, whereas a tilaka can also cover the face or other parts of the body. Tilaka can be applied to twelve parts of the body: head, forehead, neck, both upper-arms, both forearms, chest, both sides of the torso, stomach and shoulder.


similar pictography from Indus Valley Civilization

It is also called (তিলক) tilôk, (টিপ) tip or (ফোঁটা)phota in Bengali, tika, or tilakam or tilak in Hindi; Sanskrit: तिलक tilaka; Hindustani pronunciation: [t̪ɪˈlək])[19]

In Nepal, Bihar, Uttar Pradesh, and other regions, the tilakam is called a tikā/teeka (टिका [ʈɪka]), and is a mixture of sindoor, a red powder, yoghurt, and grains of rice. The most common tilakas are red powder applied with the thumb, or sandalwood (chandan) paste, in a single upward stroke.

See also[edit]


  1. 1.0 1.1 1.2 1.3 Axel Michaels (2015), Homo Ritualis: Hindu Ritual and Its Significance for Ritual Theory, Oxford University Press, ISBN 978-0190262631, pp. 100-112, 327
  2. 2.0 2.1 2.2 2.3 James Lochtefeld (2002), "Urdhvapundra", The Illustrated Encyclopedia of Hinduism, Vol. 2: N–Z, Rosen Publishing, ISBN 978-0823931798, p. 724
  3. 3.0 3.1 Deussen 1997, pp. 789–790.
  4. Klostermaier 1984, pp. 131, 371.
  5. 5.0 5.1 5.2 5.3 Deussen 1997, p. 790.
  6. 6.0 6.1 6.2 6.3 Nene 1999.
  7. 7.0 7.1 Antonio Rigopoulos (2013), Brill's Encyclopedia of Hinduism, Volume 5, Brill Academic, ISBN 978-9004178960, pp. 182-183
  8. Sunder Hattangadi (2000), Vasudeva Upanishad, Sama Veda, SanskritDocuments Archives
  9. D Dennis Hudson (2008), The Body of God, Oxford University Press, ISBN 978-0195369229, pp. 90-95
  10. Makhan Jha, Anthropology of ancient Hindu kingdoms: a study in civilizational perspective, p. 126
  11. Gautam Chatterjee (2003), Sacred Hindu Symbols, Abhinav Publications, ISBN 978-8170173977, pp. 11, 42, 57-58
  12. Grimes, John A. (1995). Ganapati: Song of the Self. Albany: State University of New York Press. p. 202, note 40. ISBN 0-7914-2440-5.
  13. Robert Williams (1998), Jaina Yoga: A Survey of the Mediaeval Śrāvakācāras, Motilal Banarsidass, ISBN 978-8120807754, pp. 221-222
  14. E. Washburn Hopkins (1910). "Mythological Aspects of Trees and Mountains in the Great Epic". Journal of the American Oriental Society. 30 (4): 347–374. JSTOR 3087578.
  15. 15.0 15.1 Vijay Prakash Sharma, p. 72.
  16. Vijay Prakash Sharma, p. 73.
  17. Vijay Prakash Sharma, p. 75.
  18. personal faith.[full citation needed]
  19. V. S. Apte. A Practical Sanskrit Dictionary. p. 475.[full citation needed]


Further reading[edit]

External links[edit]

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