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Vol III Issue XI Aug 2014
ISSN No : 2249-894X
ORIGINAL ARTICLE
Monthly Multidisciplinary
Research Journal
Review Of
Research Journal
Chief Editors
Ashok Yakkaldevi
A R Burla College, India
Ecaterina Patrascu
Spiru Haret University, Bucharest
Flávio de São Pedro Filho
Federal University of Rondonia, Brazil
Kamani Perera
Regional Centre For Strategic Studies,
Sri Lanka
Welcome to Review Of Research
RNI MAHMUL/2011/38595
ISSN No.2249-894X
Review Of Research Journal is a multidisciplinary research journal, published monthly in English, Hindi
& Marathi Language. All research papers submitted to the journal will be double - blind peer reviewed referred by
members of the editorial Board readers will include investigator in universities, research institutes government
and industry with research interest in the general subjects.
Advisory Board
Flávio de São Pedro Filho
Federal University of Rondonia, Brazil
Horia Patrascu
Spiru Haret University, Bucharest, Romania
Mabel Miao
Center for China and Globalization, China
Kamani Perera
Delia Serbescu
Regional Centre For Strategic Studies, Sri Spiru Haret University, Bucharest, Romania
Lanka
Xiaohua Yang
Ecaterina Patrascu
University of San Francisco, San Francisco
Spiru Haret University, Bucharest
Karina Xavier
Fabricio Moraes de AlmeidaFederal
Massachusetts Institute of Technology (MIT),
University of Rondonia, Brazil
USA
Ruth Wolf
University Walla, Israel
Anna Maria Constantinovici
AL. I. Cuza University, Romania
May Hongmei Gao
Kennesaw State University, USA
Loredana Bosca
Spiru Haret University, Romania
Romona Mihaila
Marc Fetscherin
Rollins College, USA
Jie Hao
University of Sydney, Australia
Pei-Shan Kao Andrea
University of Essex, United Kingdom
Ilie Pintea
Liu Chen
Beijing Foreign Studies University, China
Mahdi Moharrampour
Islamic Azad University buinzahra
Branch, Qazvin, Iran
Govind P. Shinde
Nimita Khanna
Director, Isara Institute of Management, New Bharati Vidyapeeth School of Distance
Education Center, Navi Mumbai
Delhi
Titus Pop
PhD, Partium Christian University,
Oradea,
Romania
Sonal Singh
Salve R. N.
Department of Sociology, Shivaji University, Vikram University, Ujjain
Kolhapur
Jayashree Patil-Dake
P. Malyadri
MBA Department of Badruka College
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King Abdullah University of Science &
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George - Calin SERITAN
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DBS College, Kanpur
Sciences
Al. I. Cuza University, Iasi
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Panimalar Engineering College, Chennai
REZA KAFIPOUR
Shiraz University of Medical Sciences
Bhavana vivek patole
Shiraz, Iran
PhD, Elphinstone college mumbai-32
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Review Of Research
Vol. 3 | Issue. 11 | Aug. 2014
Impact Factor : 2.1002 (UIF)
ISSN:-2249-894X
Available online at www.ror.isrj.net
ORIGINAL ARTICLE
CONTEMPORARY COSTUMES AND
LIFESTYLE OF GUPTA EMPIRE
Radhika and Mahesh Chandra Srivastava
Department of Ancient Indian History, Culture & Archaeology,
Awdhesh Pratap Singh University, Rewa (M.P.), India.
Abstract:
The Gupta Empire was founded in northern India in the beginning of the 4th
century CE, following a long period of turmoil during the Kushan Empire which ceased
in the middle of the 3rd century CE. In the meantime, several new states with little or no
historical relevance emerged and collapsed. However with the foundation of Gupta
Empire, the peace and unity in whole of the northern India once again retrieved. The
Gupta Empire lasted for more than two centuries and encompassed over the major part
of north India and to Balkh in the east. In the west, the Guptas successfully overcame the
foreign invaders, the Sakas, who had been ruling Gujarat for more than 200 years.
During the Gupta Empire, a degree of perfection was achieved in the fields of
administration, economy, art and culture, architecture, sculpture, literature, science,
technology, and above all the social balance and harmony. Before the Gupta period; the
sources of the manifest of costume, ornaments and styles were deduced from sculptures
and ancient manuscripts etc. However in this period besides; architecture, sculpture and
ancient manuscripts, wall paintings of Ajanta vividly portray contemporary costumes,
ornaments, lifestyles and dresses. The lifestyle of people of any age interprets the manner
of living which reflects the person's values and attitudes in that period. Since Gupta
period is regarded as “golden classic age” of ancient Indian history, therefore, the
contemporary costumes, and ornaments not only exhibit the social standard but the
peace, harmony and prosperity of this period also.
KEY WORDS:
Ajanta, costumes, Gupta period, lifestyle, ornaments, sculptures, wall paintings.
INTRODUCTION
Apparel tradition of India is about 4,000 years old. Intricately designed apparel and house ware
textiles, especially cottons and also some wools and silks have been an important commodity of export for
India. The cultural aesthetics of importing countries have given new dimensions to Indian designing ideas.
Since ever the Indian textiles attracted travelers from Europe, middle and central Asia, and China, as well as
conquering armies from those same quarters and tourists. Such intrusions also expose Indians to new
designs. Under colonialism, British rulers even invented Indian dress traditions, for example, the
codification of the Sikh headdress [1].
The Gupta Empire descended in North India at the onset of the fourth century CE after the windup
of the Kushan Empire, pursuing a backbreaking long term chaos in the middle of the third century. The
transition period of downfall of Kushan Empire and emergence of Gupta Empire proved to be a fertile
Title: “CONTEMPORARY COSTUMES AND LIFESTYLE OF GUPTA EMPIRE” , Source: Review of Research [2249894X] Radhika and Mahesh Chandra Srivastava yr:2014 | vol:3 | iss:11
1
CONTEMPORARY COSTUMES AND LIFESTYLE OF GUPTA EMPIRE
ground for the nourishment of several smaller states, but they could not emboss the history of ancient India.
However, the credit to reunite the whole of the northern India and to establish peace and harmony through
good governance goes to the Gupta Empire. This glorious empire lasted for more than two centuries with
far and wide boundaries spread over the major parts of north India and to Balkh in the east [2]. Guptas had to
fight tough and defeat the foreign invaders in the West, they dismantled the 200 years old empire of Sakas in
Gujarat.
According to Prayag-Prashasti, Samudragupta took over the twelve southern states but did not
merged them under the canopy of the Gupta Empire and set them free after taking certain gifts, this policy is
popularly known as “Grahan-Moksh Anugrah Neeti”.
During the Gupta Empire, a degree of perfection was achieved in the fields of administration,
economy, art and culture, architecture, sculpture, literature, science, technology, and above all the social
balance and harmony. That is why this period is considered as emblem of the Golden Age and the Classical
Period of ancient Indian History [3]. The Chinese Buddhist monk Fa-hein noted the peacefulness of India,
the rarity of serious crimes, and the benevolence of the administration. Most Indians, except the lowest
castes and untouchables practiced vegetarianism. Hinduism was widespread although Buddhism and
Jainism still flourished.
After the invasions of the White Huns, the Gupta Empire's glory was revived during Harsh regime
(606-647 CE) of Kanauj. However, neither the Harsh nor the Guptas could conquer the south India, and
Pallavas and Chalukyas took over the power from the Satavahanas. In the Deccan, it was the Vakatakas and
not the Guptas who ruled from the first half of the fifth century to the seventh century and after them the
Chalukya King Pulakesin II (609-642 CE) came to power. The Kushans were much influenced with the
western world because of the Roman Empire dominance, although the latter collapsed.
These chronological circumstances eventually led to the opportunity for India to develop her own
denotative ideology for self expression that was later exported to the Far East and South Asia through trade
and religion. The trade and religion influenced the more contacts in these regions and a mosaic pattern of
lifestyle among the people came into being through sanskritization and westernization.
Costumes comprise of the prevalent fashion of dress including accessories and hair style as well as
garments, characteristic to a country or a time or a social class. Before the Gupta period; the manifest
sources of costume, ornaments and styles were deduced from sculptures and ancient manuscripts.
However in Gupta period besides; architecture, sculpture, coins and ancient manuscripts, wall paintings of
Ajanta vividly portray contemporary costumes, ornaments, lifestyles and dresses.
This article intends to inventories the costumes of different social classes during Gupta period to
deliver a consolidated idea regarding the social setup, psycho-religious factors of society and probable
dress diversity factors of that age along with the foreign influence thereon.
2. COSTUMES THROUGH AGES: AN OVERVIEW
2.1. Indus Valley Civilization
In 1922 archaeologists made an exciting discovery of an ancient Harappa city from a previously
unknown civilization. Thereafter, with the help from local guides another city from the same civilization
called Mohenjo-Daro was discovered. Since, over 1400 cities from this same civilization have been found
to be existed which are collectively called as Indus valley civilization, as the cities have mostly been found
in the Indus valley. This civilization lasted for 1000 years (from about 2500 BCE to about 1500 BCE).
However, with all the discoveries, still very little is known about the life style of the people of Indus valley
civilization except their town planning with straight streets and brick houses. The excavated artifacts
suggest many other activities but not more about their costumes.
2.2 The Vedic Period
After the dusk of Indus valley civilization, The Vedic period (1500 BCE to 500 BCE) began when
the Aryans started their civilization in these areas, flourished and later traveled across the world. In India,
the Vedic period was also known to be a flourishing time for the Sanskrit literature and Indian culture. The
divine Vedas were written during this period in four strata as: Rigveda, Yajurveda, Samaveda, and the
Atharvaveda. However, the Vedic civilization took deep roots in India during the period of Rigveda. The
people learnt domesticating cattle, art of farming, building weaponry, preparing medicines and stitching
clothes. The garments of this period were used as traditional attire of India as it was this land where these
costumes were designed and worn.
Review Of Research | Volume 3 | Issue 11 | Aug 2014
2
Figure – 1: Costumes of women (Sari, Ghangra – Choli, Dupatta)
Costumes of women - As the Vedic people were in the initial stages of stitching clothes, the easiest
piece of clothing for women was the Sari. It is a long stretch of cloth which is about six to nine yards, and is
to be draped on a woman's body in a specific manner. Even though the initial styles of draping the Sari were
very basic, they were later altered on a regional basis. However, the most common manner of draping the
sari was, wrapping one end of the cloth around the waist, and throwing the other end over the shoulder
covering the bust area [4].
A blouse or a Choli was later incorporated as a part of the sari, as an upper body garment with
sleeves and a neck. A sari is known to be the most elegant woman's clothing in the Indian culture. Another
similar type of Vedic clothing is the Dupatta, which is the smaller version of the sari [5]. It is only a few
meters long and was usually used in the later Vedic period as a part of sophisticated garments such as,
Ghangra - Choli, where the Ghangra is a long skirt worn with a blouse and the Dupatta (Fig. 1).
Costumes of men - Men too draped pieces of long clothing around them during the Vedic period.
The most initial attire of Vedic men wore Dhotis which were draped around their waste and partitioned it
with pleats (Fig. 2). There were no upper garments required by men in this era; therefore, the Dhoti was the
only piece of clothing they wore. Another similar garment worn by men was the Lungi, which was simply
draped around the man's waist and pleated in the center, but is not partitioned. However, when Vedic people
learned to stitch, they made the Kurta which is a loose shirt like upper body garment. Then came the Pajama
which resembled a loose trouser. Men also wore head gears such as turbans, draped in various regional
styles [6].
Figure – 2: Costume of ancient Indian men (Dhoti)
3
During this period the people were more inclined to the dress and decorations. Knitting sewing,
and weaving were known. The garments were made up of wool, cotton, silk, and leather [7-8].
The garments worn in Vedic times onwards did not fundamentally differ from those worn by
Hindus in later times. A single length cloth draped around the body, over the shoulders and fastened with a
pin or a belt. This was a comfortable dress to be worn in a hot and humid climate which prevailed in India in
comparison to the weather from where these people migrated.
Lower garment was called paridhana or vasana. It was usually such a cloth fastened around the
waist with a belt or a string which is called mekhala or rasana. Upper garment was called Uttaiya and worn
like a shawl over the shoulders. This upper garment was usually discarded at home or in hot weather
especially by the people belonging to lower strata. Third garment called pravara was worn in cold season
like cloak or a mantle [9].
Stitching was not unknown as is evident from the depiction of women in jackets and bodices.
Invasion of Sakas and Kushanas from Central Asia led to the introduction of trousers at least in the upper
classes in the Gupta times. In fact, Kushana kings have been shown in the coins and a headless statue of
Kanishka wearing long quilted coats, trousers and boots of typically Central Asian style. Clothes used for
preparing these clothes varied from wool worn in North India in winters, diaphanous silks and muslins
which were transparent and showed the limbs of the wearers. Clothes were often dyed or otherwise
patterned with gay stripes and checks. Foot wears were generally worn to protect the feet from scorching
heat of earth in Indian summers [10].
Figure – 3: A- Uttariya, B- Antaryia
3. COSTUMES OF MEN DURING GUPTA PERIOD
The kings of Gupta period highly appraised the importance of stitched dresses which were
traditionally gained the importance of royalty during Kushan periods and even got them embossed on their
coins. Since Kushans were much influenced with the Western Roman Empire therefore the coats, trousers
and boots were pre dominant dresses of royal family, and the Guptas adopted them which are marked on
Gupta age coins [11]. However, Guptas also continued to wear the traditional indigenous dresses such as
antaryia, uttariya and kayabandh on normal affairs (Fig. 3).
3.1 DESCRIPTION
1. KING (cf. Fig. 5A – Ajanta, Cave XVII [11])
The royal costume of Gupta period kings consisted of;
4
1)Anatriya – A short and striped dress in lehnga style with a long end visible on the cushion.
2)Anguliya – A ring on little finger.
3)Keyura – An elaborate armlet with loops suspended from a cylinder of delicate and intricate
ornamentation (usually in gold or silver or other fine twisted wire) work.
4)Kirita – A jeweled headdress of metal with ornamental discs and motifs.
5)Kundala – Elaborate earrings.
6)Haar (Necklace) – Jewellery consisting of a cord or chain bearing gems worn about the neck as an
ornament gems with loops.
7)Mangal Sutra – Usually silk ties worn on necklace, visible at the right shoulder.
8)Suddha Ekavali – Necklace of pearls with a central gem.
9)Valaya – An ornamental bracelet, one on each wrist.
2. KING (cf. Fig. 5B – Ajanta, Cave I [11])
Here the king wears a brown striped silk garment, offering lotus flowers to Lord Buddha on a tray
that appears to be covered or painted in a design.
1)Bali – Earrings from which separate drops of pearls and sapphires are suspended.
2)Keshsajja (Hairstyle) – Short hair.
3)Mangal Sutra – Simple chain at the neck.
4)Mukuta – A jeweled headdress of metal with ornamental floral motif from which pearls are looped and
suspended.
5)Valaya – Bracelets of different kinds at the wrists.
3. KING AND QUEEN (cf. Fig. 5C – Gupta gold coin [11])
As per the Gupta age Gold Coin (Fig. 4) during the regime of Samudragupta (350-380 CE) queen
Kumaradevi and King Chandragupta was embossment, the queen is dressed in indigenous costume
antariya and uttariya, her hair is worn in a bun at the top of the head and nupura on the ankles.
1)Chugha – A close-fitting coat of the Kushans with a row of decorative buttons with fastenings at the
centre; the opening in front is held together and the waist edge ends in a point at the centre.
2)Earrings – Button style jewelry to ornament the ear; usually clipped to the earlobe or fastened through a
hole in the lobe.
3)Trousers – A garment extending from the waist to the knee or ankle, covering each leg separately do not
appear to have creases at the knee.
4)Headgear – A close-fitting cap.
Figure – 4: Queen Kumaradevi and King Chandragupta on a gold coin (350-380 CE)
[wikimedia.org]
5
4. PRINCE (cf. Fig. 5D – Ajanta, Cave XVII [11])
1)Keshsajja (Hairstyle) – Shoulder length hair loosely knotted at the nape; bound with ribbons with stylized
curls at the forehead.
2)Headgear – Twisted turban (A traditional headdress consisting of a long scarf wrapped around the head)
in stripes or bound at intervals with braid; there are large gem-beset breastpins at the sides and a central
ornament on the top.
3)Kundala – Simple type earrings.
4)Muktavali – Single-string pearl necklace.
5. MINISTER (cf. Fig. 5E – Ajanta [11])
1)Bali – Simple earrings with suspended pearl.
2)Keshsajja (Hairstyle) – Smoothly combed back long hair.
3)Haravsti – large pearl necklace
4)Kancuka – Simple indigenous round-neck loose fitting cloaks extending to the hips or knees with long
sleeves and a front opening; up to calf-length.
5)Torque – Simple necklet of twisted wire with beads.
6)Uttariya – wrapped around the waist and thrown over the left shoulder with the final end resting on the left
arm.
6. CHAMBERLAIN (cf. Fig. 5F – Ajanta, Cave XVII [11])
1)Chaddar – Fish-scale pattern decorated cloth worn over the left shoulder and under the right arm.
2)Headgear – Flat turban of twisted cloth held by ribbon bands at intervals, worn as a mark of office by the
chamberlain.
3)Kancuka – Indigenous striped white tunic with long sleeves and front opening; probably calf-length
4)Torque – Necklet of twisted wire with beads
8. GUARD (cf. Fig. 5H – Ajanta, Cave XVII [11])
1)Arm equipment – Oval shield and curved sword.
2)Hairstyle – Drawn up in a large top knot
3)Kayabandh (Girdle) – A band of material around the waist that strengthens a skirt or trousers tied at the
waist.
4)Kundala – disc-type earrings.
5)Quaba – It is non-indigenous garment, this calf-length tunic has the Persian-type pointed collar and tiraz
band braid trimming on upper arms.
The costume appears to be foreign; however, the hairstyle, sword and earrings are indigenous.
Thus it is most likely that the foreign uniform was adopted by the Gupta army.
9. FOOT SOLDIER (cf. Fig. 5I – Ajanta, Cave XVII [11])
1)Antariya – Short and striped material with a border.
2)Cholaka – Short jacket covering the chest with half-sleeves and a decorative braid at the hem and sleeveedge.
3)Armament – Spear and rectangular, curved shield of rhinoceros hide.
4)Hairstyle – Shoulder length hair; without any headgear.
5)Kangan – One bracelet on each wrist.
Elephant riders and foot soldiers in the Gupta army wore a similar uniform. They were sometimes
more splendid in gold-striped antariya and skull caps or fillets on their heads.
6
Figure – 5 (A-K): Costumes of men during Gupta period. A-King (Ajanta, Cave XVII), B-King, making an
offering of lotus flowers to Lord Buddha (Ajanta, Cave I), C- King and Queen (Gupta gold coin), D- Prince
(Ajanta, Cave XVII), E- Minister (Ajanta), F- Chamberlain (Ajanta, Cave XVII), G- Guard (Ajanta, Cave
II), H- GUARD (Ajanta, Cave XVII), I- Foot Soldier (Ajanta, Cave XVII), J- Bikkhu (Ajanta, Cave XVI),
K- Horse Man (Ajanta, Cave XVI) [4to40.com – History [11].
11. HORSE MAN (HAYGREEV) (cf. Fig. 5J – Ajanta, Cave XVI [11])
The costume of horse man is very similar to that of the Iranian tarter, from whom the tiraz band
trimming, pointed collar and floating ribbon ties originated. Baggy trousers tucked into boots are probably
worn.
1)Belt –Worn at the waist.
2)Headgear – Dome cap with band.
3)Quaba – Calf-length striped coat with pointed collar and tiraz band braid on upper arms; floating ribbon
7
ties are visible at the back.
4. COSTUMES OF WOMEN DURING GUPTA PERIOD
In the case of male costume it is easier to trace the influence, which came mainly from the invaders
and traders. In female costume, however, the variety is much greater and hence it is more difficult to pinpoint the exact sources.
4.1 DESCRIPTION
1. QUEEN (cf. Fig. 6A – Gupta gold coin [11])
The queen is dressed in indigenous costume as seen in her antariya and uttariya, her hair is worn in
a bun at the top of the head. From the Licchavi tribe, she wears nupura on the ankles.
1)Antariya – Short and striped material with a border.
2)Uttariya – Wrapped around the waist and thrown over the left shoulder with the final end resting on the
left arm.
3)Nupura – Anklets of simple design
4)Hairstyle - Hair appears in a bun at the top of the head.
2. VOTARY FIGURE (cf. Fig. 6B – Ajanta, Cave II [11])
1)Ardhoruka – langoti type of patterned striped drawers - a short strip of cloth worn around the waist with
an attached strip from the centre of the waist which is drawn up between the legs and tucked in at the back.
2)Choli – Short blouse of cobwebby material.
3)Headgear – A striped scarf tied around the head and knotted at the back, tassels are visible behind the right
shoulder; further back on the head is a decoration of leaves with a central motif probably tied around a
chignon-type hairstyle. She carries an offering and could be of foreign origin as the scarf on the head
suggests.
4)Keyura – Flat simple armbands.
5)Kundala – Large disc-type earrings.
6)Muktavali – String of pearls at the neck.
7)Nupura – Anklets of simple design
8)Uttariya – Worn over the left shoulder.
9)Vaikaksha – Two long strings of pearls crossed at the chest.
10)Valaya – Bracelet, one on each wrist.
3. ATTENDANT (cf. Fig. 6C – Ajanta, Cave I [11])
1)Robe – Ankle-length in white material with a pale blue frill at the hem; it has tight sleeves and a collar; the
hem of the sleeves and the edge of the collar are embroidered; there is a tiraz band trimming at the upper arm
and floating ribbons at the back opening
2)Headgear – A round cap of red material (broad-cloth or velvet) with a white border of fur or wool and
white plume at the centre
This is often referred to as the Persian Embassy scene, but the figure appears to be a Turanian Tartar from
Central Asia. Turanian Tartars were influenced in their dress by the Persians, as seen in the tiraz band,
floating ribbons and round cap.
4. MAID SERVANT (cf. Fig. 6D – Ajanta, Cave XVII [11])
1)Antariya – Worn very short in kachcha style; after knotting at the centre both ends are passed between the
legs, fluted and tucked in at back centre to fall to the ankles; one end has been tucked in under the mekhala
and the other over it
2)Hairstyle – Hair has been drawn back into one plait, with a few curls at the forehead; a fillet is worn and
also a chaplet of flowers to which a semi-circular ornament has been attached on either side of the centre
parting
3)Keyura – Worn on the upper arms-baju, cylinderical, inset with pearls and tied on with ribbons.
4)Kundala – Simple ring-type earrings.
8
5)Mekhala – Girdle at the hips is decorated with discs; a small frill of cloth hangs at the side which could be
part of the end of the antariya pulled around from the back after tucking in, and tucked in again at the front.
6)Mukatavali – Necklace of one strand of small pearls (haravsti)
7)Nupura – Anklets are simple and cylindrical.
8)Valaya – Bracelet of filigree work.
5. COURT LADY (cf. Fig. 6E – Ajanta, Cave I [11])
1)Ghagri – The early form of a skirt to the knees in which there is a draw-string (nada); the border of the
woven silk material can be seen vertically down the centre.
2)Valaya – Graded ivory or conch-shell bangles.
3)Hara – Dead necklace.
4)Hairstyle – Centre parting with chignon on nape decorated with ribbons; a wreath of leaves is worn
around the head.
6. PRINCESS (cf. Fig. 6F – Ajanta, Cave I [11])
1)Anguliya – Ring worn on the little finger of the right hand.
2)Bali – Ring-type earrings with pearls strung; a smaller simple ring is worn on the upper part of the ear.
3)Hairstyle – Elaborate, adorned with flowers and jewels, the hair being worn in a large bun at the nape.
4)Keyura – Armlet of filigree work festooned with pearls on upper arms.
5)Kirita – A decorative jeweled headdress.
6)Lehnga – The antariya has now become the lehnga; it is held first at the right hip then taken once around
the body and tucked in tightly at the left hip in pleats or simply as in this figure.
7)Uttariya – A diaphanous material cloth, thrown over the breasts.
8)Muktavali – Several pearl necklaces of small and large pearls including one long strand which hangs
between the breasts.
9)Nupura – Very simple anklet.
10)Valaya – One simple and one ornamental bracelet is worn on each wrist.
The stool or short-backed chair (piddha) has turned wooden legs very similar to those available in
most parts of India today. Covering it is a pearl studded or tie-dyed cross-shaped cloth. The large cushion at
the back is covered with printed cloth and the cushion used as footrest has a pearl edge.
7. COURT LADY (cf. Fig. 6G – Gwalior Museum [11])
1)Hairstyle – Hair is worn with a centre parting which is covered by a decorative ornament attached to the
mukuta (tiara) at the forehead and the jewelled braid at the left side of the nape; the braid then continues like
a fillet around the crown of the head.
2)Haravsti – One strand of large pearls.
3)Kundala – Large wheel-like earrings.
4)Mukuta – Highly decorative in embossed gold or silver, has little pendants suspended from it at the
forehead.
5)Torque – Twisted wire necklace of Celtic origin.
8. FEMALE VOTARY (cf. Fig. 6H – Ajanta, Cave VI [11])
1)Bali – Small earrings with suspended pearls; worn higher up on the ear.
2)Hairstyle – Hair is worn in a large pompadour style on the crown of the head with tiny curls along the
forehead.
3)Mala – Large flowers above the ears are used as further ornamentation to the hairstyle Kundala – Very
large ring-type earrings.
4)Ratnajali – From the elaborate tiara-like ornament around the head, strands of pearls. form a net over the
hair-style; there is a central ornament at the forehead from which are suspended strands of pearls.
5)Suddha Ekavali – Pearl necklace with a gem at the centre; has ribbon ties.
9
Figure – 6 (A-I): Costumes of women. A- Queen (from Gupta gold coin), B- Votary (Ajanta, Cave II), CAttendant (Ajanta, Cave I), D- Maid Servant (Ajanta, Cave XVII), E- Court Lady (Ajanta, Cave I), FPrincess (Ajanta, Cave I), G- Court Lady (Gwalior Museum), H-Female Votary (Ajanta, Cave VI), I- Maid
(Ajanta, Cave XVI) [ 4to40.com – History [11].
9. MAID (cf. Fig. 6I – Ajanta, Cave XVI [11])
1)Angarkha – Long-sleeved tunic with probably a left side-opening running down to the pointed hem.
2)Hairstyle – Probably a thick twisted roll of padding is fixed at the centre parting and held in place by tiny
plaits of hair; this is still used to hold high the head-covering by some women of north India and gives an
extremely regal effect to head veil.
3)Hara – A simple chain.
4)Kundala – Large ring-type earrings.
5)Uttariya – Worn over the head and left hanging behind the shoulders in Parthian or Scythian style.
5. DISCUSSION
The Indian costumes of men and women have always been a matter of great curiosity since ever.
From Vedic period to the Gupta period several designs of cut and tailored garments came to fashion. By and
by alterations took place and the indigenous kancuka, inspired the development of embossed tunic with
long or short sleeves worn by ministers, guards, doormen, and court attendants. Simpler version of the
white calf-length tunic can be seen in the costume of the chamberlain, a chaddar further bring dignity to his
clothing of a distinctive style.
The lower garment was usually the antariya and with it was sometimes worn kancuka, which
10
could be tucked in like a shirt. The kayabandh was used to hold the garments in place. The ushnisa (turban)
slowly became obsolete, and remained confined to certain dignitaries, ministers and other officials only.
The climatic conditions of northern India highly favoured cut and tailored garments, however in the
southern parts, the indigenous antariya, uttariya and kayabandh is still prevalent. The royalty on the Gupta
coins exhibits wearing the cut-tailored garment of the Kushan period [12-14]. It was the elaborate mukuta
(crown) and exquisite jewelry that really set apart kings and high dignitaries from other members of royal
retinue. The Persian influence on Indian costume art is clearly indicated in the rich floating ribbon
decoration, as it was a fashion at the Persian courts.
The antariya was worn in different styles. The short or long antariya was worn in the kachcha
style or as a lehnga, in both the cases it was first wrapped around the right hip then around the body and
tucked in at the left hip. The ankle-length antariya was the lower garment of high rank women; however,
attendant usually wore the shorter form.
During Gupta period, the kachcha style of antariya became less popular among women and replaced by the
more feminine lehnga (Fig. 7). However, the kachcha style is still prevalent among the women of
Maharashtra and South India. The skirt, evolved from the antariya after being stitched on one side and was
worn gathered together at the waist, and held by a girdle.
The idea of Buddhism and Jainism that the body of women is sinful and had to be covered, thus the
bhairnivasani came into being. Since the kachcha and the lehnga style were seductive, therefore, the
antariya changed to bhairnivasani, an extraordinary amount of clothing to completely hide the shape of the
females. From the bhairnivasani evolved the skirt with the drawstring or nada, called ghagri, still prevalent
in different rural and tribal regions of India [15].
The breast-band had been used since Vedic times mainly to support for breasts rather than to
covers them. Indigenous stitched garment, cholaka, chola, choli, cholika and kancholika are mentioned in
early Sanskrit literature [16-17]. This choli appears to be fastened in front, probably knotted, as in the case
with certain cholis in use today.
Figure – 7: Detail from Ajanta painting by Robert Gill (Museum No. IS.53-1885). (Photograph by V & A
Photographic)
11
6. CONCLUSION
It is indeed interesting to find satisfactory answer as to, why Indian women frequently began to
dress the top half of their bodies who for many centuries wandered bare above the waist? The most probable
answers in Indian circumstances compel to think in two directions; one the impact of Buddhism, Jainism
and Christianity who believed that the body of women is sinful and had to be covered to avoid enticement
and other is the idea that covering of bosoms is more attractive than exposing it. These psycho-religious
answers might have been forerunners behind the diversity of women costumes in India. Concurrently,
foreign invasions, tourism, and socio-economic factors such as trade, sanskritization and westernizations
have also played a major role in the thought of costume designing.
Now a day Indian fashion is falling in step with western counterparts. By 1995 at least thirty-five
agreements between Indian and foreign textile and apparel-producing firms had been made. Changing
economic realities and media are eliciting fashion experiments outside cities too. Thus the low caste
indigenous garments giving ethnic and regional identity needs to be rediscovered and conserved. This will
not only preserve our socio-cultural heritage but also keep our unique artistic inheritance intact.
ACKNOWLEDGEMENTS
Author Radhika expresses deep sense of passionate gratitude to her husband Mr. Sanjay K.
Chaubey for his meticulous support and hearty gratefulness to Dr. H.P. Pandey for his help in dressing up of
the manuscript.
REFERENCES
1.Cohn, Bernard (1989). Cloth, Clothes, and Colonialism: India in the Nineteenth Century. In Annette, B.
Weiner and Jane Schneider (Eds.) Cloth and Human Experience. pp. 305-353. Smithsonian Institution
Press, Washington.
2.Srivastava, Mahesh Chandra and Radhika (2014). The Temple and Sculpture Arts of Gupta Dynasty in
Madhya Pradesh India. Indian Streams Research Journal 4 (5): 1-7. Available online at www.isrj.net
3.Radhika (2014). Intending Symbols in the Iconography of Gupta Age Sculptures of Central India. Golden
Research Thoughts 3 (12): 1-8. Available online at www.aygrt.isrj.net
4.Banerjee, Mukulika, and Daniel Miller (2003). The Sari. Berg, Oxford.
5.Boulanger, Chantal (1997). Saris: An Illustrated Guide to the Indian Art of Draping. Shakti Press
International, New York.
6.http://idyllic.wordpress.com/(Retrieved on 08/15/2014)
7.Rigveda – 10/26/6.
8.Atharvaveda – 9/5/26.
9.Atharvaveda – 10/7/42-43.
10.www.buzzle.com/articles/vedic-period-costumes.html (Retrieved on 08/15/2014)
11.http://www.4to40.com/history/index.asp?p=Gupta_Period_Early_Fourth_to_Mid-Eighth_Centuary_
A.D. (Retrieved on 07/13/2014)
12.Fabri, Charles (1977). Indian Dress: A Brief History. Sangam Books; Orient Longman Limited, New
Delhi.
13.Ghurye, G. S. (1966). Indian Costume. Popular Prakashan, Bombay.
14.Kumar, Ritu (1999). Costumes and Textiles of Royal India. Edited by Cathy Muscat. Christie's Books,
London.
15.Leslie, Julia (1992). “The Significance of Dress for the Orthodox Hindu Woman.” In Ruth Barnes and
Joanne B. Eicher (Eds.), Dress and Gender: Making and Meaning. pp. 198-213. Berg, Oxford.
16.Sahay, Sachidanand (1973). Indian Costume, Coiffure and Ornament. Munshiram Manoharlal Pub. Pvt.
Ltd., New Delhi.
17.Tarlo, Emma (1996). Clothing Matters: Dress and Identity in India. University of Chicago Press,
Chicago.
Radhika
Department of Ancient Indian History, Culture & Archaeology,Awdhesh Pratap Singh
University, Rewa (M.P.), India.
12
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