The Study of the Historic Origin and the Symbolism of Mehndi

멘디의 역사적 기원과 상징성에 대한 연구

  • Jo, Eun-Young (Dept. of Fashion Industry, Catholic University of Daegu) ;
  • Yoo, Tai-Soon (Dept. of Fashion Industry, Catholic University of Daegu)
  • 조은영 (대구가톨릭대학교 패션산업학전공) ;
  • 유태순 (대구가톨릭대학교 패션산업학전공)
  • Received : 2003.12.12
  • Published : 2004.06.30

Abstract

Mehndi, becoming a kind of body fashion in western advanced countries nowadays, is a exquisite, classical fashion form sublimated to traditional faith, medicine and designing art. As one of the cultural arts, especially transmitted by women, a individual tradition of the way how to do the mehndi and the design has been handed down from one culture to another over a thousand of years and it is extensively using in many area, all around world today. Mehndi was used as preparing for special events or celebrations in India, Africa, Central Asia in order to pray for happiness, good luck and calm hart 5000 years ago. Especially, it is concerned with romantic love or a wedding and takes important part of a traditional wedding reception and bride adorning in the culture of Hindu or Islam. In addition to adorning skin, mehndi has various symbols, meaning, function, that is, as a speechless language, in several cultures, it has common meaning such as attraction, protection, celebration. The design of mehndi has been in harmony with the figure, colors, skin types of the dress or the ornament. According to the region, religion, design, mehndi is divided into the design of India and Morocco mostly. Indian design mainly shows flowers and paisley pattern, people widely recognize this design to celebrate and adorn bride in wedding ceremony, still apply mehndi the present time. Moroccan mehndi design, representing North Africa, characterized a bold geometrical figure which stands for belief in living under the protection from supernatural power. Through the understanding of these various meaning, function, symbolism of the design, adorning their body, the current general public use mehndi as not only aesthetic means but also another self expression.

Keywords

References

  1. 시공 디스커버리 총서 (1998) '화장술의 역사'. 시공사, 서울, p.83
  2. 이효진 (1999) 현대 서양복식에 나타난 tattoo에 대한 연구. 복식문화연구, 7(4), 52-68
  3. 임숙자 (1988) '신체변형'. 경춘사, 서울, pp.66-72
  4. 조현설 (2003) '문신의 역사'. 살림출판사, 서울, pp.58-59
  5. Bahrain T. (2001) Henna traditional: A Simbol of marital bliss, Sep 5
  6. Cartwright J.C. (2001) 'A short history of henna'. Tapdancing Lizard,PP.25-36
  7. Cartwright J.C. (2002) The Functions of Childbirth and PostpartumHenna Traditions. Kent State University
  8. Coletti E.A. (2001) To the land of henna and kohl, avon calls. Christian Science Moniter, 93(86), 1
  9. Conover K.A.(1998) Ancient art of mehndi attracts the trend-settingcrowd. Christian Science Moniter, 90(97), 13
  10. Fisher A. (1999) 'African Ceremonies'. Harry N Abrams. pp. 101-143
  11. Groning K. (2001) 'Decorated Skin'. Thames&Hudson, London,PP.172-181
  12. Healy J. W.(2003) To dye for. Teaching PreK-8, 33(7), 36
  13. Jakarta P. (2001) Henna puts a bit of color into women's lives. Jul 31
  14. Kennett F. (1994) 'World Dress'. Michell Beazley, PP.167-173
  15. Ronald K. (1998) The skin's colorful and sacred calligraphy.Multicultural Education, 6(2), 24-25
  16. Roome L. (1998) 'Mehndi: The timeless art of henna painting'.Paperback, PP. 11-29
  17. Sumita Batra. et al (1999) 'The art of Mehndi'. Paperback, PP.23-32
  18. http://www.hennapage.com
  19. http://www.mehandi.com
  20. http://www.sptimes.com/2002/06/16/Wor1dandnation/The_Message_Of_Morocco