Book Review: Mapping the Complexities and Adaptability of Devotional Practices
Citation: Waldia, Lalita. “Book Review: Mapping the Complexities and Adaptability of Devotional Practices” The Jugaad Project, Vol. 6, No. 1, 2024, www.thejugaadproject.pub/review-devotion-clothing [date of access]
Clothing as Devotion in Contemporary Hinduism, Urmila Mohan, 2024 (South Asian Edition), New Delhi, India, Manohar Books (Originally published by Brill in 2019).
"Clothing as Devotion in Contemporary Hinduism" by Urmila Mohan explores the profound connection between material culture and religious devotion within the International Society for Krishna Consciousness (ISKCON). The book delves into various elements of ISKCON’s practices, focusing on how clothing, body marks, japa beads, and other material artifacts are integral to the religious lives of its followers. The central thesis of Mohan’s work is that these material objects are not mere accessories but play a crucial role in expressing and cultivating devotion, encapsulated in the concept of “efficacious intimacy.” Mohan divides her book into eleven chapters, each tackling different aspects of material devotion. The first chapter lays the theoretical groundwork, explaining the significance of clothing and other material items in making the otherworldly real. She introduces concepts such as “bio-moral energy” to describe how these items influence religious practices. Subsequent chapters delve into specific practices, such as deity worship and darshan (Chapter 2), the trans-local nature of ISKCON (Chapter 3), and multi-sensorial worship experience (Chapter 4). Chapters 5 through 7 focus on the specifics of clothing the deities, embroidery as a devotional practice, and the values imparted through the classroom and beyond. These chapters provide detailed descriptions of the processes involved, from the crafting of garments to their significance in religious rituals. Chapter 8 examines the circulation of images and imagery, highlighting how ISKCON navigates modern aesthetics while maintaining traditional values. The final chapters discuss the broader implications of these practices, including the role of chanting as a devotional technique and the transformative power of clothing and other materials in fostering a sense of community and devotion.
"Clothing as Devotion in Contemporary Hinduism" initially suggests a focus on fabric as clothing, but Urmila Mohan transcends this expectation by delving into broader aspects such as body marks and japa (chanting). The book is based on a year-long fieldwork in Mayapur and other parts of India, and is further supported by existing literature and theories, providing a solid foundation for the reader.
Mohan's exploration is centered around three major ideas. Firstly, she discusses trans-local spaces for worship, service, education, and daily life within ISKCON (International Society for Krishna Consciousness). She paints a vivid picture of how these spaces are not confined to a single location but extend across various geographies, creating a global community connected through shared practices and beliefs. The second major idea focuses on the actions and values of the process of dress as embodied making and use. Mohan introduces the term “efficacious intimacy” (p.71) to describe the complex process involving activities like embroidery and chanting as techniques of spirituality and reverence. These processes generate relationships that bind community members with each other and their belief in the deity.
While Mohan doesn't use the term craft, I see her ideas on making through this lens and consider how making processes are particularly relevant to the area of religious crafts. As a development professional working in areas of vernacular architecture and craft, I have been engaged since 2021 in documenting the wood carving traditions of temples, among other structures, in Himachal Pradesh, India. Here, every step from sourcing wood to final installation is shaped by religious guidelines, and the rules and rituals behind the process are integral to the craft, making it impossible to study the making process in isolation. Thirdly, Mohan discusses the fluid nature of the devotional body within ISKCON. Practices are not rigid but transformable through action, allowing for adaptability and continuity in diverse cultural contexts. This flexibility ensures that devotional practices can be followed globally, accommodating regional variations while maintaining core principles. Similarly, in the context of local religious practices in temples in Himachal Pradesh, one can consider how variation can exist within normative rules.
Mohan effectively uses images to illustrate her key points. These include deity images from temples, working spaces, motifs, design sketches, posters, lithographs, individual and group depictions, and online platforms where religious products are available. These images help the reader to visualize concepts and immerse themselves in the subject matter.
One of the major takeaways from the book is the concept of “efficacious intimacy.” This term perfectly captures the intricate relationship between religious crafts and rituals, where craft-making is seen as an act of effective devotion. It resonates deeply with my work on documenting wood carving traditions, where the devotional aspect of craft-making is evident in every detail. This book is a must-read for those interested in the intersection of craft, religion, and cultural practices, as well as researchers and practitioners in the field of crafts. Mohan’s detailed exploration of embroidery motifs, their origins, and techniques allows readers to understand the designs and distinctions, such as the difference between Zari and Zardozi, and their respective uses. Similarly, defining all the important concepts of Hindu religion - karma, dharma, darshan, rasa, bhava, bhakti, etc. - are crucial to understanding the relation of the concept with the practices associated with material culture. Her ethnographic research is impressive, with detailed observations and interviews with practitioners providing a rich, nuanced understanding of material practices within ISKCON. For example, her description of the embroidery process in Chapter 6 vividly captures the dedication and skill involved in creating devotional garments. The detailed accounts of the sensory experiences in ISKCON temples (Chapter 4) and the standardized practices for dressing deities (Chapter 5) offer a comprehensive view of how material culture is woven into the fabric of religious life.
Mohan’s examination of ISKCON as a complex system evolving with time, representing a form of contemporary Hinduism, is particularly intriguing. Her analysis of temple architecture in ISKCON reveals how spaces have evolved from traditional forms as practices have shifted. Exploring regional identities, such as the distinctive dress styles of Radha-Krishna deities in Bengaluru, illustrates the adaptive nature of religious practices and their universal appeal. The instance of the ‘kimono’ deity garment, a night wrap-around dress designed to attract East Asian devotees, and the incorporation of the japa clicker (hand tally) by global devotees are some of the prime evidences.
One of the book's strengths is Mohan’s specific focus on the insider perspective, allowing her to convey the significance of these practices effectively. However, our understanding could also benefit from the outsider perspective of those who are not core members, highlighting the extent of ISKCON's influence across various Indian social strata and how it is perceived. This is important both given its challenge to the traditional caste system, and the potential disconnect that may exist with lower and middle-class Indians due to its international following. This would help us understand which section of Indian society finds ISKCON most attractive. Although Mohan applies a gender lens to understand practices in most parts, she overlooks the significance of predominantly Bengali male artisans actively doing the embroidery while international women devotees assist with dressmaking in other ways. There is also a mention of a woman in the area doing embroidery at home (p.56) but we do not learn more about the domestic lives of the embroiderers. This aspect could have been explored further, considering the significant role of women in the domain of embroidery in India.
Despite these minor shortcomings, Mohan’s book is highly effective in conveying the significance of material culture in ISKCON’s devotional practices. Her arguments are well-supported by detailed evidence, and her analysis is both thorough and insightful. The inclusion of footnotes and references provides a solid theoretical background, situating her research within the broader academic context.
In conclusion, "Clothing as Devotion in Contemporary Hinduism" by Urmila Mohan is a comprehensive and engaging exploration of how material culture is integral to the devotional practices within ISKCON. It is a valuable resource for anyone interested in the intersections of craft, religion, and cultural practices, offering a profound understanding of how these elements are interwoven in a sect of contemporary Hinduism.
