Cosmetics, Costumes and Ornaments in Ancient India

by Remadevi. O. | 2009 | 54,177 words

This page relates ‘Various other Upper Garments and Lower Garments’ of the study on cosmetics, costumes and ornaments of ancient India based on Sanskrit sources. Chapter one deals with cosmetics and methods of enhancing beauty; Chapter two deals with costumes, garments and dresses; Chapter three deals with ornaments for humans and animals. Each chapter deals with their respective materials, types, preparation and trade, as prevalent in ancient Indian society.

2. Various other Upper Garments and Lower Garments

< Previous

Next >

Various other Upper Garments:

Besides the above mentioned varieties, upper garments were known by several other names. Some of them are -Bṛhatikā, Nisāra, Adhivāsas, Paṭa, Aṅgarakṣaṇa, Paryānahana, Paṭṭa, Pracchādana, Ācchādana, Uttrāsaṅga, Pāṇḍva, Vāsas, Prāvaraṇa, Paridhāna, Vavri, Upavasana, Uparivastra, Cela, Pratidhi and Colika.

Among the aforesaid types, Bṛhatikā is described as a synonym of Prāvāraka in Amarakośa^[1], while Patañjali^[2] uses this term to indicate the clothes in general. By the Sūtra—[...]^[3], Pāṇini also informs us that Bṛhatikā is the name of a certain type of cloth, probably the upper garment. Nisāra is listed as a female costume especially designed for winter season, in Amarakośa^[4]. Adhivāsas also known as Adhivastra, was an overcoat worn over the upper garment. From Śatapatha-brāhmaṇa^[5] we learn that it was a dress of princes Paṭa, as described by Patañjali is similar to Uttarīya and was worn in such a way that it covers the shoulders. Paṭa of white colour was in common use in his period. Aṅgarakṣaṇa finds mention in Rājataraṅgiṇi^[6]. As the name indicates it may probably be a mantle, especially worn by soldiers. Vavri, Upavasana and Paryānahana are referred to in Vedas. According to some commentators, Upavasana is either a bride’s veil or an upper cloth similar to Uttarīya of the later period^[7]. In the view of S.C Sarkar, Paryānahana^[8] is a thin and long texture, which probably served the purpose of both Uttarīya and veil. Pracchādana, as per the description given in Mṛcchakaṭika^[9], is only a wrapper. Ācchādana is alluded to by Bāṇa^[10] as a shawl that covers the shoulders. Cela is mentioned by Pāṇini^[11]. It was perhaps meant for ladies. Uttrāsaṅga is attested in Matsyapurāṇa^[12] and also by Kālidāsa^[13]. Pāṇḍva was a dress worn usually by the performer of Rājasūya^[14]. The term Vāsas in the sense of upper garment is used in Samhitas Vedas and Brāhmaṇas. Ṛgveda often talks about the tying of Vāsas. From this it can assumed that such types were not tailored ones, but were tied in knots or tucks. In Ṛgveda Pratidhi is referred to as a female dress^[15]. Atharvaveda^[16] mentions it as a breast cloth. Paridhāna is described in Atharvaveda^[17] as worn by both men and women. We come across these two varieties in Brāhmaṇas also. As per the details given by Rājaśekhara in Viddhasālabhañjikā^[18], we learn that Colika was a female costume, which is similar to today’s blouse. There we have reference to unmarried girls wearing Colika of blue colour.

Upper garments were essential for all ceremonial occasions, for e.g. in the marriage rituals, there was a custom of tying in knot the end of the upper garments of both bride and groom. This custom is still in existence among certain communities.

Upper garments other than Stanāṃśuka or Kañcuka were not compulsory among unmarried girls. In the story of Gomini in Daśakumāracarita^[19], the girl is described in one place as devoid of upper garment, while in another context, Navamālikā, the princess of Śrāvasti is represented as wearing a Dukūlottarīya^[20]. However, tailored upper garments of ladies were almost sleeveless. In Śiśupālavadha^[21], a lady is depicted as exposing her armpit, while gathering flowers.

Various other Lower Garments:

Apart from the above said varieties, lower garments were also known by several other names such as Upasaṃvyāna, Antarīya, Vāsa, Svasthāna, Piṅga, Nīvikāṃśuka, Kaupīna, Cīnāṅgahāra, Śāṭī, Adharāṃśuka, Nivasana, Satula, Dhautavastra and Malamallaka. Of these, Upasaṃvyāna is the name given to lower garments in general by Patañjali^[22] and Kātyāyana^[23]. Antarīya finds mention in Sūtra texts^[24], Bṛhatsaṃhitā^[25] and by Daṇḍi^[26] also. Bāṇa^[27] informs us that Svasthāna, Piṅga and Satula are male costume, especially worn by royals. As its name suggests, Svasthāna is perhaps a close fitting garment. Piṅga and Satula were embroidered and gorgeous. Satula is identified by some with the modern under wear. Even though the word indicates lower garments in general, we mostly come across Nivasana in the descriptions of ladies in Kālidāsa’s works^[28]. Nīvikāṃśuka and Malamallaka are referred to by Daṇḍi as under skirts, where Nīvikāṃśuka is worn by ladies and is tied round the waist by means of a lengthy cloth called Nīvika. Malamallaka is a dress of men. Cīnāṅgahāra, as per the description of Daṇḍi in Avantisundarīkathā^[29], is an under garment resembling the modern knickers. Kaupīna is usually a piece of cloth used as under garment especially by recluse. The word Kaupīna is used in the sense of an armour by Daṇḍi^[30]. Swaswati Das^[31] describes Śāṭī as a skirt and hence it may be a tailored dress. Patañjali has mentioned a Śuklaśāṭī worn by ladies^[32].

As mentioned earlier, styles of wearing lower garments might have been different in different periods and different regions. Vālmīki-rāmāyaṇa and Mahābhārata give indications to some styles prevalent in that period. As per it, we learn that lower garments of ladies in those days were generally long enough to cover the entire body. This is evident from the description of Sītā covering her breasts with the end of her lower garment before Rāvaṇa, who made Sītā captive in Laṅkā. Likewise, in the context of Sīta’s abduction, it is described that Sītā threw away her Uttarīya amidst the Vānaras in Ṛṣyamūka hill. From this description it is clear that covering of the body was possible even with the lower garments^[33]. Similarly in Mahābhārata, we read of the upper half portion of Draupadī’s cloth falling down, when Duśśāsana attempting to drag her by her garment. Draupadī was in her monthly period and hence her upper body was supposed to be covered with the end of lower garment, when she was ill treated by Duśśāsana. It is also supposed that Kaca, a girdle was not always employed by women in those days to keep their lower garments in position. Otherwise, Duśśāsana could not have pulled away with ease Draupadī’s garment, at the assembly^[34].

In the view of Vanamala Bhawalkar, the style of wearing lower garments of ladies of that period was similar to the sari wearing of north Indians of nowadays. She assumes it on the basis of the description of Draupadī in her exile. There Draupadī is represented as covering her hair knot at the right side with the end of her lower garment. According to Vanamala, hiding the hair knot at right side with the end of lower garment is possible only when the dress is worn in the aforesaid north Indian style^[35].

According to C.V Vaidya, men in that period wore their lower garments in a style similar to today’s ‘Dhoti’ of north Indians. His assumption is on the basis of Duryodhana’s dressing. There in Mahābhārata, we have reference to Duryodhana baring his cloth from his right thigh at the assembly. In the view of Vaidya, such baring is possible only with the clothes worn in the style of today’s ‘Dhothi’^[36].

Various other Upper Garments and Lower Garments:

In addition to the above described upper garments and lower garments, we meet with some other types, which are difficult to identify exactly. Some of them are—Āprapadīna, Vādhūya, Vātapana, Antahpuranepathya, Antaram, Paridhāna and Śyāmula. Of them, Āprapadīna also known as Prapadīna, as the word indicates is perhaps a gown that touches the feet. Paṇini^[37], Amarakośa^[38] Daṇḍi^[39] and Bāṇa^[40] had referred to it. Vādhūya and Vātapana are two types attested in Vedic literature. From there we learn that Vādhūya is a garment, worn by a bride during the wedding ceremony^[41]. Literally the word Vātapana means a wind guard. But some are of the opinion that Vātapana is not a separate garment, while it is only a portion of the garment which blocks the wind^[42]. But it is difficult to identify it exactly. Paridhāna is alluded to in Atharvaveda, Bṛhadāraṇyaka-upaniṣad and by Paṇini^[43] also. It was worn by both men and women. Paṇini uses the term Antaram in the sense of Upasaṃvyāna, which as mentioned earlier, is a lower garment. From the expression—[...],^[44], it is clear that Paṇini has used the word Antaram in a dual sense, dress and exterior. Antaḥpuranepathya literally means costume of royal harems.

Kālidāsa has attested this type as short and transparent one. In Mālavikāgnimitra^[45], we come across dancers attired in such garments, which were adequate to exhibit their physical beauty. The earliest reference to Śyāmula is almost in Śrautasūtras^[46]. It was a sort of wool which is necessary during Aśvamedha sacrifice. Śāmula, Śāmūla and Śyāmūla are some variants of Śyāmula.