3.7. Dress Making: Dyeing

Dyeing is considered as one among the sixty-four arts listed in Śukranītisāra^[1] as well as in Kāmasūtra^[2]. The art of dyeing was known to people from an early period itself. There was even a society of dyers, who were skilled in dyeing different sorts of clothes. Dyeing was possible for all types of textures. Even barks were dyed. But we have rare mentions of the process of dyeing and also of the materials employed in its process. However dyes were prepared from natural substances like animal secretions, clay and also from barks, seeds, fruits and flowers of certain trees or plants. On the basis of their profession, age, social status or hierarchy, people wore garments of different colours. On the basis of the colour of their clothing, some characters are known by certain epithets, for e.g. Pītāmbara is an epithet of Viṣṇu and Kṛṣṇa, while Nīlāmbara is that of Balarāma. In general, people were very conscious about colour combination.

We have ample references to clothes dyed in colours such as red, yellow, blue, green, black and their various combinations. Clothes were multi coloured also. According to Bharata^[3], different combinations of primary colours—Varṇa will produce all other colours—Upavarṇa. He has listed four primary colours -white, red, yellow and blue. Thus it is stated that light blue colour is obtained by mixing white and blue. For getting Pāṇḍu (Pale yellow), white and yellow should be combined. Padmavarṇa (Pink) is obtained by mixing white and red. From the combination of blue and yellow, green is originated. Gaura (Orange) is a mixture of red and yellow, while Kāṣāya is the combination of red and blue.

Usually seeds and flowers of Kusumbha, bark of Lodhra (Lac) and Paṭasa, Mañjiṣṭha (Madder) and Kuṅkuma (Saffron) were employed for this purpose. In Kauṭilīya Arthaśāstra^[4], it is stated that Kiṃśuka, Kusumbha and Kuṅkuma were cultivated for this purpose. It was the duty of the superintendent of the forest to look after this cultivation. Pigments were prepared from cow’s urine and clay also. In Kādambarī^[5], we come across a king’s silk cloth painted with swan figures. There the yellow pigment by which the swans were designed, is described as made out of cow’s urine or bile. Patañjali^[6], mentions Śakala and Kardama as two dyeing agents. Śakala is a sort of black pigment, while Kardama is clay or lime.

He also informs us indirectly about the consciousness of the people of his period in colour combination thus–

[...],^[7]

He has described women of social status wearing colour garments very often. The expression Vāsaścitra is common and is indicative of the multi coloured clothes prevalent in that period.

We get evidence to dyed barks in Raghuvaṃśa^[8]. There barks dyed in saffron are referred to. In Vājasaneya-saṃhitā^[9] and Manusmṛti^[10], we come across dyer, who is termed as Rañjaka.

Importance of White Colour

Even though people had fondness towards colour garments, people usually preferred white colour for ceremonial occasions. For, some sort of sanctity was attached to white. This colour is a sign of widowhood as well as old age. From Bāṇa^[11] we learn that he had given much importance to white colour. Very often he referred to garments, garlands and even cosmetics of white colour.

Footnotes and references:

[1]:

XIII; IC, p.199

[2]:

IC, P.199

[3]:

Nāṭyaśāstra, XXI.61-84

[4]:

p.122

[5]:

p.127

[6]:

Mahābhāṣya, IV.2.2

[7]:

I.1.29

[8]:

X.77

[9]:

30.12

[10]:

IV.216

[11]:

Kādambarī, pp.84, 85, 87, 105, 162, 198; Harṣacarita, IInd and Vth Ucchvāsa