Ghoonghat

2021-09-30T14:20:01Z

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{{Redirect|Ghunghat|other uses}}{{Redirect|Jhund|the Indian film|Jhund (film)}}[[File:Rajasthan Girl Traditional Dress.jpg|thumb|A Hindu woman with a ghoonghat veil.]]
A '''ghoonghat''' (''ghunghat'', ''ghunghta'', ''ghumta'', ''orhni'', ''laaj'', ''chunari'', ''jhund'', ''kundh'') is a headcovering or [[headscarf]], worn primarily in the [[Indian subcontinent]], by some married [[Hindu]], [[Jain]], [[Muslim]] and [[Sikh]] women to cover their heads, and often their faces.<ref name="Gupta2003">{{cite book|last=Gupta|first=Kamala|title=Women In Hindu Social System (1206–1707 A.D.) |year=2003 |publisher=Inter-India Publications|language=en|isbn=9788121004145|quote=Hindu ladies covered their head with a kind of veil known as Ghoonghat.}}</ref><ref name="Gupta1987">{{cite book |last1=Gupta |first1=Kamala |title=Social Status of Hindu Women in Northern India, 1206-1707 A.D. |date=1987 |publisher=Inter-India Publications |isbn=978-81-210-0179-3 |page=131 |language=English |quote=The Hindu ladies covered their heads with a kind of veil known as ''ghoonghat''.}}</ref> Generally ''aanchal'' or ''pallu'', the loose end of a [[sari]] is pulled over the head and face to act as a ghunghat. A ''[[dupatta]]'' (long scarf) is also commonly used as a ghungat.

Since the [[ancient India|ancient period of India]], the veiling of women with a ghoonghat has been practiced.<ref name="Kant2003">{{cite book |last1=Kant |first1=Anjani |title=Women and the Law |date=2003 |publisher=APH Publishing |isbn=978-81-7648-456-5 |page=53 |language=English|quote=...even in ancient India there was a partial exclusion of women and they observed a curtain veil (or what even now goes under the name of ghoonghat).}}</ref><ref name="Srivastava1967">{{cite book |last1=Srivastava |first1=Ashok Kumar |title=India as Described by the Arab Travellers |date=1967 |publisher=Sahitya Sansar Prakashan |language=English |quote=...there was partial exclusion of women in Ancient India and women observed a curtain or 'Veil,' the so called 'Ghoonghat' of the modern times.}}</ref><ref name="Walsh2006">{{cite book|last=Walsh|first=Judith E.|title=A Brief History of India|year=2006|publisher=Infobase Publishing|language=en|isbn=9781438108254|page=[https://archive.org/details/briefhistoryofin0000wals/page/88 88]|url-access=registration|url=https://archive.org/details/briefhistoryofin0000wals/page/88|quote=Ancient Indian society had also developed practices that restricted women's social mobility and behavior, particularly in the early centuries A.D. Over the centuries in which Muslims ruled many sections of India, Muslim conventions intensified these Hindu practices, and by the 19th century purdah was the customary practice of high-caste Hindu and elite communities throughout India.}}</ref> Today, facial veiling by Hindu women as part of everyday attire is now mostly limited to the [[Hindi Belt]] region of India,<ref>Raj Mohini Sethi (2011) "Socio-economic Profile of Rural India (series II).", p.111</ref><ref>IHDS 2004–5 data "Gender and Family Dynamics.", p.153</ref> particularly [[Haryana]], [[Rajasthan]], [[Uttar Pradesh]], [[Bihar]] and some parts of [[Sindh]] and [[Punjab, Pakistan|Punjab]] in Pakistan.

It has been both romanticized and criticized in religious and folk literature.<ref>Anant Sadashiv Altekar (1959) "The Position of Women in Hindu Civilization.", p.171</ref>

==Etymology==
The word ''ghoongat'', ''ghunghat'' or ''ghunghta'' is derived from ''Avagunthana'' ([[Sanskrit]]: अवगुण्ठन) meaning ''veil'', ''hiding'' and ''cloak'' and ''Oguntheti'' ([[Prakrit]]: ओगुन्थेति) ''to cover'', ''veil over'' and ''hide''.<ref>http://spokensanskrit.de/index.php?tinput=avaguNThana&script=&direction=SE&link=yes</ref><ref>Ambalaṅgoḍa Polvattē Buddhadatta, A. P. (1957) "Concise Pāli-English Dictionary.", p.69</ref>

==History==
[[File:22 A standing woman in floral patterned white sari, a peacock-plume patterned cloak. 18 centiry, San Diego Museum of Art.jpg|thumb|Woman in ghoonghat; Rajput miniature painting from [[Bundi]], [[Rajasthan, India]].]]
The ''ghoongat'', ''ghunghat'' or ''ghunghta'' veil evolved from ancient ''Avagunthana'' in ([[Sanskrit]]: अवगुण्ठन) ''veil'', ''hiding'' and ''cloak''.<ref>http://spokensanskrit.de/index.php?tinput=avaguNThana&script=&direction=SE&link=yes</ref> Early Sanskrit literature has a wide vocabulary of terms for the veils used by women, such as ''avagunthana'' meaning cloak-veil, ''uttariya'' meaning shoulder-veil, ''adhikantha pata'' meaning neck-veil, and ''sirovas-tra'' meaning head-veil.<ref>Govind Sadashiv Ghurye (1951) "Indian Costume.", p.236</ref><ref>Ramesh Prasad Mohapatra (1992) "Fashion Styles of Ancient India: A Study of Kalinga from Earliest Times to Sixteenth Century AD", p.24</ref>

[[File:Krishnacart.jpg|thumb|left|200px|[[Gupta Empire|Gupta]]-period depiction of women in veiling, 320 CE–550 CE, [[Uttar Pradesh]], India.]]

In the post-[[Gupta period]], [[Śūdraka]], the author of [[Mṛcchakatika]] mentions that some females wore a thin head-veil (avagunthana) to conceal and beautify their coiffures. This hair-net of various colors was called as ''jālaka'' and it was used to keep the hair from being ruffled by breezes. However, this female hair-dress was not used by women every day and at every time. It was worn on special occasions like marriage or at the time of going out. Śūdraka notes that a married woman was expected to put on a veil while moving in the public. This may indicate that it was not necessary for unmarried females to put on a veil.<ref>Sulochana Ayyar (1987) "Costumes and Ornaments as Depicted in the Sculptures of Gwalior Museum.", p.152</ref>

In [[Mṛcchakatika]], courtesan [[Vasantasena]]'s mother, having received ornaments for her daughter from a wealthy suitor to keep her as his mistress, she sends Vasantasena with her maid, asks her to go in the carriage bedecked with ornaments and to put on her ''avagunthana'' veil. This instruction is taken to signify that a [[courtesan]] who has accepted a suitor, had to use a veil in public similar to married women.<ref>Govind Sadashiv Ghurye (1951) "Indian Costume.", p.236</ref> At the end of the play when Vasanthasena is legally wedded, she receives the title "''Vadhūśabda''" meaning "''title of a bride''" simultaneously with the veil "''vasantasenām avagunthya''" meaning "''a token of honorable marriage''".<ref>Laurie Patton (1961) "Jewels of Authority: Women and Textual Tradition in Hindu India.", p.81</ref> In the same literature, courtesans' maid servant Madanika marries her lover Sarvilaka, a thief who changes his ways. Her new husband says to her that she has achieved what is difficult to acquire: "''Vadhūśabda avagunthanam''" meaning "''the title and veil of a bride''".<ref>Laurie Patton (1961) "Jewels of Authority: Women and Textual Tradition in Hindu India.", p.81</ref>

In the ''Pratimānātaka'', a play by [[Bhāsa]] (3 - 4 CE) describes in context of the ''Avagunthana'' cloak-veil that "''ladies may be seen without any blame [for the parties concerned] in a religious session, in marriage festivities, during a calamity and in a forest''".<ref>Govind Sadashiv Ghurye (1951) "Indian Costume.", p.236</ref> The same sentiment is more generically expressed in ''[[Nagananda|Nāgānanda]]'' and ''[[Priyadarsika|Priyadarśikā]]'' by [[Harsha]], where maidens were expected to wear no veil; it was donned only after the marriage.<ref>Anant Sadashiv Altekar (1959) "The Position of Women in Hindu Civilization, p.170</ref> Later, the veil was referred to by the same term, ''avagunthana'', in ''[[Shishupala Vadha|Śiśupālavadha]]'' and the ''[[Dashakumaracharita]]''.<ref>Sulochana Ayyar (1987) "Costumes and Ornaments as Depicted in the Sculptures of Gwalior Museum.", p.152</ref> According to commentator Sankara, the ladies of [[Thanesar|Sthanvisvara]] used to go about covering their faces with a veil.<ref>Govind Sadashiv Ghurye (1951) "Indian Costume.", p.239</ref>

[[File:हिन्दू विवाह सम्प्रदाय 5 - जयपुर, भारत.JPG|thumb|Bride in ghoonghat during ''Muh Dikhai'' ceremony in Rajasthan, India.]]
In Buddhist [[Mahayana]] literature, [[Lalitavistara Sūtra]] written in the 3rd century CE, young bride Yasodharā objected to observe veiling (oguntheti/oguṇthikā) in front of respected elders. This was taken to be a sign of immodesty and willfulness, as people criticized her and gossiped.<ref>Betty Kelen 1967 "Gautama Buddha: In Life and Legend" chapter 1, pp. 7 and 8</ref> When she became aware of this, Yasodharā came before the assembled court and defended herself in a long statement: "Those whose thoughts have no cover, no shame or decorum or any virtue, those who gossip, may cover themselves with a thousand garments, yet they walk the earth naked. But those who veil their minds, control their senses, and have no thought for any other except their husband, why should they veil their faces?" Yasodharā's parents-in-law were delighted with their daughter-in-law's proud statement and gave her two white garments covered with jewels.<ref>Betty Kelen 1967 "Gautama Buddha: In Life and Legend" chapter 1, pp. 7 and 8</ref>

The [[Lalitavistara Sūtra]] reflects changing times around the 3rd century CE and Buddhists' attempt to counter this growing practice, as there is no mention of this entire incident in early Buddhist [[Theravada Buddhism|Theravada]] literature.<ref>Betty Kelen 1967 "Gautama Buddha: In Life and Legend" chapter 1, pp. 7 and 8</ref><ref>Rohini Chowdhury 2011 "Gautama Buddha: The Lord of Wisdom" chapter 1, page 9.</ref>

In [[Valmiki]]'s ''[[Ramayana]]'' dated between the 5th century BCE to the 3rd century CE, Prince [[Rama]] asks his wife [[Sita]] to unveil herself so that the gathered citizens of Ayodhya can take a look at them before they go in exile to the forest; there is no mention of [[Sita]] veiling herself again after this incident.<ref>Anjani Kant (1951) "Women and the Law.", p.43</ref> At the end of the epic, hearing the news of Ravana's death, his queens giving up to lamentations rush outside without their ''Avagunthana'', in which chief queen [[Mandodari]] surrounding his corpse says "''Why do you not get angry, beholding me, having put off my veil, walk out on foot by the city gate? Do you behold your wives who have thrown off their veils. Why are you not angry seeing them all come out of the city?''"<ref name="Valmiki Ramanaya, chapter 111"> Valmiki Ramanaya, chapter 111 - stanza 6-111-63 and 6-111-64</ref> Thus, it is notable that royal women avoided public gaze and veiling was expected to be worn only by married women.<ref>Anjani Kant (1951) "Women and the Law.", p.43</ref>

In ''[[Shakuntala (play)|Abhijñānaśākuntalam]]'' by [[Kālidāsa]], written between the 3rd and 4th century CE, when the heroine arrives at King [[Dushyanta#King_Dushyant|Duhsanta]]'s palace, seeking to take up her wifely status, the king first remarks "''Kā svid avagunthanavati''" meaning "''who is this veiled one?''" and immediately forbears to look at her, with the words ''"Anirvarnaniyam parakalatram"'' meaning "''The wife of another is not to be inspected.''"<ref>Laurie Patton (1961) "Jewels of Authority: Women and Textual Tradition in Hindu India.", p.81</ref> This largely indicates that ''Avagunthana'' was a sign of a respectable married woman, and was a married woman's raiment.<ref>Laurie Patton (1961) "Jewels of Authority: Women and Textual Tradition in Hindu India.", p.81</ref>

===Medieval period===
In ''[[Kathasaritsagara|Kathāsaritsāgara]]'' written in the 11th century AD, heroine in the story ''Ratnaprabhā'' protesting: "''I consider that the strict seclusion of women is a folly produced by jealousy. It is of no use whatsoever. Women of good character are guarded only by their own virtue and nothing else.''"<ref>Anant Sadashiv Altekar (1959) "The Position of Women in Hindu Civilization.", p.173</ref> Rational opposition against veiling and seclusion from spirited ladies resulted in the system not becoming popular for several centuries.<ref>Anant Sadashiv Altekar (1959) "The Position of Women in Hindu Civilization.", p.171</ref> However, it is notable that some section of society from the 1st century B.C. advocated the use of the veil for married women. There is no proof that a large section of society observed ''strict'' veiling until the [[medieval]] period.<ref>Anant Sadashiv Altekar (1959) "The Position of Women in Hindu Civilization.", p.174</ref>

Under the [[Islamic]] [[Mughal Empire]], various aspects of veiling and seclusion of women was adopted, such as the concept of [[Purdah]] and [[Zenana]], partly as an additional protection for women.<ref>Anant Sadashiv Altekar (1959) "The Position of Women in Hindu Civilization.", p.175</ref> [[Purdah]] became common in the 15th and 16th century, as both ''Vidyāpati'' and ''Chaitanya'' mention it.<ref>Anant Sadashiv Altekar (1959) "The Position of Women in Hindu Civilization.", p.175</ref> [[Sikhism]] was highly critical of [[purdah]]; [[Guru Amar Das]] condemned it and rejected seclusion and veiling of women, which saw decline of [[purdah]] among most classes during this period.

[[File:हिन्दू विवाह सम्प्रदाय - जयपुर, भारत.jpg|thumb|A Hindu bride with full veiling during [[Hindu wedding]] ceremony in [[Jaipur, Rajasthan]], India.]]

===Significance===
In ghoonghat practice, facial veiling observed by married women is known as ''Laaj'' ([[Sanskrit language|Sanskrit]]: लज्जा, Lajja - ''modesty'', ''honor'', ''shame''). In veiling practice, it literally means "''To keep (one's) modesty, shame and honor''". Earliest attested word ''Laaj'' in context of veiling is found in [[Valmiki]]'s ''Ramayana'' as ''lajjaavaguNThanaan'' describing Mandodari.<ref name="Valmiki Ramanaya, chapter 111"> Valmiki Ramanaya, chapter 111 - stanza 6-111-63 and 6-111-64</ref> However, it is unclear whether it refers to facial veiling.<ref>Anjani Kant (1951) "Women and the Law.", p.43</ref>

During a marriage ceremony, the bride wears a veil given by her parents. Later, during the ceremony the bride's mother-in-law covers her face with ghoonghat; she therefore simultaneously wears the veil given by her parents and that from her in-laws, symbolizing her passing from the protection of one's household to another.<ref>Emma Tarlo 1996 "Clothing Matters: Dress and Identity in India", p.177</ref>

[[Hindu_wedding|Muh Dikhai]] ([[Devanagari script|Devanagari]]: मूह दिखाई, first gaze) is a post-wedding ceremony, where the bride is formally introduced to the groom's relatives and extended family. The ceremony takes place once the bride arrives in her new home; each family member lifts her veil, looks at the bride and gives her a welcoming gift. She receives ''Shagun'' from her mother-in-law, which is typically jewelry, clothing and silverware. After this ceremony the bride observes full veiling for the next few months or until her parents-in-law advise her to unveil.<ref>Doranne Jacobson, [[Susan Snow Wadley]] 1999 "Women in India: two perspectives", p.195</ref>

===Post-1900s===
During the early 1900s, women of royal and aristocratic class were first to abandon strict veiling in public. However, the head was loosely veiled due to sensitivity towards the custom during changing times.<ref>Laurie Patton (2004) "Maharanis: The Lives and Times of Three Generations of Indian Princesses.", p.81</ref> The other classes soon followed; it lingered on in some parts of India until well after the 1940s. Facial veiling has gradually declined, and is mostly limited to parts of Hindi-speaking areas today.<ref>Raj Mohini Sethi (2011) "Socio-economic Profile of Rural India (series II).", p.111</ref> In ghungat, a woman will veil her face from all men to whom she's related by marriage and who are senior to her husband. This would include, for example, her husband's father, elder brother and uncles. The effect of ghungat is to limit a young woman's interaction with older men.<ref>{{cite book|last=Guindi|first=Fadwa El|title=Veil: modesty, privacy and resistance|year=2003|publisher=Berg|location=Oxford [u.a.]|isbn=1859739296|pages=109-111|edition=Repr.}}</ref><ref>{{cite book|last=Nevile|first=Pran|title=Lahore: a sentimental journey|year=2006|publisher=Penguin Books|location=New Delhi, India|isbn=0143061976|pages=77}}</ref>

In 2004, the India Human Development Survey (IHDS) found that 55% of women in India practice some form of ghoonghat, majority of them in Hindi-speaking states.<ref>IHDS 2004–5 data "Gender and Family Dynamics.", p.153</ref> The survey found that some women may cover their face fully but for others, partial covering of the face is more a nod to propriety than a large impediment.<ref>IHDS 2004–5 data "Gender and Family Dynamics.", p.153</ref>

===Gallery===
<gallery>
File:हिन्दू विवाह सम्प्रदाय 4 - जयपुर, भारत.JPG|Bride in veiling during Muh Dikhai ceremony.
File:Ghoomar.jpg|Women in veil performing folk dance at wedding.
File:Rajput Woman performing Ghoomar 01.jpg|Woman performing folk dance in ghoonghat.
File:Rajput Woman performing Ghoomar02.jpg|Woman with a ghoonghat performing a Ghumar dance.
</gallery>

==References==
{{reflist|2}}

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