ROMANCE AND SHRINGAR: THE ART OF DRESSING UP

The art of Shringar in Indian culture embodies a meticulous and intricate approach to personal embellishment and adornment. This encompassing practice extends far beyond the physical, serving as a profound expression of emotions, particularly those of love and sensuality. Over generations, artists and poets have dedicated their creations to detailing this art, unravelling the themes of love, romance, and longing through the lens of Shringar. Even seemingly simple acts, such as applying Kajal to one’s eyes or adding a flush of blush to their cheeks, carry a rich historical significance. Within the realm of poetry, the genre known as Shringar Ras places a significant emphasis on elements like clothing, jewellery, and makeup, weaving intricate narratives of beauty and desire. Shringar demands meticulous attention to detail, from the careful selection of traditional attire adorned with vibrant colours and intricate designs to the elaborate jewellery that graces one’s form. It extends to hairstyling, the intricate artistry of mehndi (henna) application, and the evocative use of fragrances, all contributing to a holistic celebration of beauty and expression in Indian culture.

RADHA AND KRISHNA

Jayadev’s “Gita Govinda” beautifully unfolds the timeless love story of Radha and Krishna, delving deep into their profound devotion for each other. Throughout this narrative masterpiece, the text meticulously describes Radha’s attire and the intricate preparations she undertakes before reuniting with her beloved Krishna. This artistic endeavour finds its perfect expression in the concept of “Roop Shringar” within Indian culture, transcending mere physical appearance. With a particular focus on women, Roop Shringar illuminates the intricate emotions and intricate details woven into the creation of a look, encompassing everything from hairstyling to clothing choices. It envelops the act of dressing up with an inherent sense of romance, underscoring the intimate connection between personal adornment and the profound expression of love and devotion.

In the realm of art, numerous paintings, whether ancient or contemporary, beckon viewers into the divine love story of Radha and Krishna. Among the enchanting motifs that grace these canvases is the tender depiction of Radha and Krishna sitting together, engaged in an intimate moment. In these renditions, Krishna lovingly assumes the role of a doting partner, gracing Radha’s hair with delicate flowers. This particular act carries profound symbolism within the context of their enduring love story. Placing flowers in Radha’s hair signifies not just Krishna’s affection but also his deep admiration of her unparalleled beauty. It embodies the idea of offering something beautiful and fragrant to someone cherished. The choice of flowers itself carries its own symbolic weight, potentially representing the sweet fragrance of their love.

KRISHNA DOING RADHA’S SHRINGAR – DOLLS OF INDIA

KRISHNA DOING RADHA’S SHRINGAR – DOLLS OF INDIA

The artists who craft these poignant scenes pay meticulous attention to every detail. They deftly capture the intricate patterns of Radha’s hair, the vibrant hues of the flowers, and the emotions etched upon the faces of the divine couple. Through their work, these artists aim to convey timeless themes of love, devotion, and the profound connection that bridges the mortal and the divine. This portrayal of Radha and Krishna sharing such an intimate moment not only celebrates their eternal love but also serves as a poignant reminder of the enduring beauty and depth of human emotions.

RADHA KRISHNA – LOVE  SHRINGAR – HARSH MALIK, SAATCHI ART

The intertwining of love and the act of dressing up extends beyond Radha and Krishna’s love story and finds resonance in various mythological contexts, notably in the poetry of Meera Bai, a devoted follower of Lord Krishna. In Meera Bai’s verses, the profound love and longing for the divine are intricately woven with the symbolism of dressing up. Her poems often convey the sentiment of adorning herself as the bride, waiting to meet the heavenly beloved, the pure and beautiful Krishna who is her truest groom. 

MEERA BAI – DAINIK BHASKAR 

This connection between love and attire isn’t limited to elaborate clothing; it can also manifest in the act of devotees shedding extravagant jewellery and opulent outfits to renounce worldly possessions. Paradoxically, while relinquishing material wealth, devotees strive to dress as beautifully as they can for their divine beloved, underlining the notion that true devotion transcends external extravagance and focuses on the heart’s deepest yearnings.

CONTEMPORARY DEPICTION 

Even in contemporary settings, the art of dressing up, particularly being dressed by one’s beloved, serves as a potent means of expressing desires and conveying moments of profound romantic intimacy. A striking illustration of this is found in the 2015 blockbuster “Bahubali: The Beginning,” where the characters portrayed by Prabhas and Tamannaah Bhatia engage in a playful yet deeply symbolic dance. In this scene, Avantika, a robust warrior shaped by her battles, initially appears in a simple and tactical attire, her hair bound, face untouched, and body tense with the weight of her warrior spirit. As the dance unfolds, Baahu, her beloved, playfully adorns her with natural pigments as a form of makeup, releases her hair, and gently transforms her entire persona. This act symbolises the metamorphosis of Avantika’s character, as she transitions from a fierce warrior to a more feminine and vulnerable self, highlighting the transformative power of love and the profound impact it can have on one’s identity and self-expression.

BAHUBALI: THE BEGINNING, GARDEN SCENE

Characters in the literary works of Rabindranath Tagore frequently engage in the art of dressing themselves with meticulous care and anticipation as they prepare for long-awaited reunions with their beloveds. In Tagore’s novella “Choker Bali” (The Grain of Sand), the protagonist Binodini exemplifies this ritual. Upon learning of her lover Mahendra’s impending visit, she meticulously selects a beautiful saree, adorns herself with jewellery, and applies fragrances, all with the hope of capturing Mahendra’s attention and affection. Similarly, in “Ghare-Baire” (The Home and the World), Bimala, the central character, carefully dresses herself in response to the arrival of Sandip, the charismatic revolutionary. Her choice of clothing and jewellery reflects her inner turmoil and the conflict between her loyalty to her husband and her growing attraction to Sandip. In Tagore’s literary world, love is not solely expressed through words but also through the careful and deliberate adornment of oneself, making the act of dressing a symbol of love’s transformative power.

CHOKER BALI (The Grain of Sand) BY RABINDRANATH TAGORE

FEMININE AGENCY

The act of dressing up is a deeply nuanced expression of human emotions, one that can artfully convey the painful experience of losing love. Just as clothing, makeup, and adornment are employed to signify affection, anticipation, and desire, they can be harnessed to symbolise the absence or departure of love. This transformation can take on diverse forms – from forsaking elaborate attire for simpler garments to eschewing vibrant colours in favour of muted tones, or even ceasing grooming and adornment practices altogether. In the context of Indian culture, it can also be a potent tool to communicate disinterest or anger.

Within this complex interplay of emotions and appearance, there exists a profound connection to feminine freedom and expression, often discovered through the practice of Shringar. It’s not only a means for a woman to express her love and appreciation but can also serve as a form of self-assertion or even a subtle form of retribution. In instances of marital discord, for instance, an upset wife may intentionally cease dressing up for her husband or present herself in an unappealing manner as a means of conveying her discontent. In this intricate dance of emotions and aesthetics, the act of dressing up becomes a language unto itself, capable of conveying the most intricate nuances of human experience.

Shringar transcends the mere surface-level cosmetic enhancement; it is a profound form of expression that carries the weight of love, devotion, and feminine agency. This ancient Indian art of adorning oneself goes beyond aesthetics, becoming a language through which individuals convey their deepest emotions and desires.

Shringar serves as a testament to the profound connection between outer appearances and inner emotions. It is a powerful means of expressing affection, anticipation, and desire, allowing individuals to communicate their emotions in a tangible and visually striking manner, making it a rich and intricate part of the human experience.