Cosmetics, Costumes and Ornaments in Ancient India

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

This page relates ‘Materials: Flowers’ 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.

1.3. Materials: Flowers

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Flowers were considered a means of enhancing physical beauty, from Vedic time itself. Men or women, irrespective of their economic status were fond of decorating their body either directly with flowers or with flower garlands. Flowers were employed in adorning different parts of the body from head to feet. Religious rites also need flower ornaments. They were presented in the form of offerings, gift or felicitations and were made by skilled garland makers, males as well as females. Sale of flowers also was prevalent. Floral decorations and garland making were considered an art. In addition to flowers, sprouts, leaves, grass, beeds and pellets also were used. They differ in size, smell and colour.

Some of the flowers used for decorations were—(1) Vāsanti, (2) Sindhuvāra, (3) Mandāra, (4) Karṇikāra, (5) Madhūka, (6) Pārijāta, (7) Śirīṣa, (8) Juhī, (9) Mālatī, (10) Aśoka, (11) Maulasiri, (12) Arkapuṣpa, (13) Nāga, (14) Keśapuṣpa, (15) Kiṅkirāta, (16) Kunda, (17) Kamala, (18) Nameru, (19) Kurabaka, (20) Kesara, (21) Lodhra, (22) Kadamba, (23) Campa, (24) Nalada, (25) Matta, (26) Kanera, (27) Pellets of Bhadra, (28) Candana, (29) Seeds of Guñjā, (30) Cotton and (31) Leaves of Tagara, Bhinda and Kiṅkirāta.

Imitations of flowers made of gold and precious stones also were in vogue. Flower garlands were useful in summer to alleviate the heat and were usually known by several names like Sraja, Mālā, Mālya and Dhāma.

In Ṛgveda^[1], Aśviṃs are described as lotus wreathed. A sacrificer should wear flower ornaments during the rites. But flowers other than Nalada should be used to make garland, because according to the commentator of Baudhāyana-śrautasūtra^[2], garlands of Nalada flowers are usually put round the neck of a dead person. Bhāratapitṛmedha^[3] also refers to this belief. Ṛgveda gives the name Sraja to a flower garland. There we have references to armlets and necklaces made of pellets of Bhadra and sandalwood^[4]. Pāraskara-gṛhyasūtra^[5] suggests flower garlands for a Snātaka at the Samāvartana ceremony. During the marriage ceremony, a bride is suggested to wear Madhūka flowers round her neck^[6]. The offerings for natural powers like snakes include flower garlands. This is referred to in Pāraskara-gṛhyasūtra^[7] in connection with Śrāvaṇa ceremony.

The sale of flowers and garlands were well developed even in the times of Vātmīki and Patañjali^[8]. Mention of a flower stall is seen in Vālmīki-rāmāyaṇa^[9]. A female garland maker was known by the name Mālinī in that period.

There in one place, water reservoirs filled with different varieties of flowers is compared to a prostitute thus—

[...].^[10]

From this verse it can be inferred that flowers were a means of decoration of prostitutes. There are some references to chaplets worn by Rāma, Lakṣmaṇa and Sāmudras^[11]. Chaplets were especially considered a favourite of southern people.

In Ayodhyākāṇḍa, there is a verse starting thus–[...]^[12], where Āpīḍa is a flower wreath worn round the forehead. As regard to neck garlands, Vālmīki-rāmāyaṇa speaks of Vanamālā worn by Rāma and Lakṣmaṇa^[13]. In another context, Vātmīki portrays Rāma decorating the hair of Sītā with Kesara flowers^[14]. Similarly, Rambhā while going to meet her lover is described as decked with divine flowers^[15].

According to Harivaṃśapurāṇa^[16], Vanamālā includes flowers like Nīpa, Tulasī, Pārijāta, Arjuna, Kundala, Mandāra and Kadamba. Another tradition suggests Tulasī, Kunda, Mandāra, Kamala and Pārijāta for making Vanamālā^[17].

According to Bhāgavatapurāṇa and Amarakośa, Vanamālā is a long garland, which is made by knitting flowers of all seasons together with a large flower of Kadamba at the centre^[18]. In one context there, Kṛṣṇa is described as received with a Vanamālā, when he visited the house of a garland maker at Madhurā^[19]. In another place, Yudhiṣṭhira is described garlanding Kṛṣṇa by Vanamālā at the Rājasūya sacrifice^[20].

Nāṭyaśāstra^[21] divides garlands under five heads, according to the manner in which they are made. These are—

1. Veṣṭhima

To make this garland, flowers, leaves or grass are decoratively weaved.

2. Vitata

This type of garland is made by joining more than one garland.

3. Saṅgāṭya

Garland made by weaving thread through the flowers.

4. Granthima

In Granthima, flowers are joined together with knots.

5. Prālambita

As the word indicates, it is a long garland hanging down.

It is said that different colours symbolise different characters. Thus for a condemned criminal, garland of red flowers is recommended.

In Śiśupālavadha of Bhāsa, Śephālikā flowers are described similar to crystals of red arsenic^[22]. In one context, blossomed Śephālikā tree is compared to pendants of pearls interspersed with corals. There is a reference to Vāsavadattā, weaving Kautukamāla for Padmāvatī^[23].

Kālidāsa also portrays such scenes frequently in his works. Anasūya makes a Kesaramālā for Śakuntalā^[24]. The women of Alakā described in Meghadūta, decked different parts of their body with different flowers. They wore fresh Kurabaka and Kadamba on the knot of hair and parting of the hair. Jasmine buds also decorated their hair, which looked like white dots on the hair. They adorned their hand and ear with lotus and Śirīṣa respectively. Some times Karṇikāra also adorned their ears^[25]. Kālidāsa often points out the power of sweet smelling flowers and the tender leaves of Aśoka to kindle the passion of lovers^[26]. In Meghadūta, he speaks of Kanakamālā, an imitation made of gold^[27].

The sixty-four arts listed by Vātsyāyana include, Taṇḍulakusumāvalīvikāra (Decorating floors with flowers and rice flour), Puṣpāstharaṇa, (Preparing flower beds), Puṣpaśakaṭikā (Floral decoration of carts), Mālyagrathanavikalpa (Different modes of garland making), Śekharakāpīḍayojana (Making floral crowns)^[28]. All these arts are collectively called by the name Puṣpakalā by Daṇḍi^[29].

Bṛhatsaṃhitā considers flowers as the weapon of cupid. There women are asked to avoid wearing flower garlands during their periods. The text suggests flower garlands for worship. White flowers are preferred for this purpose^[30].

According to Amarakośa^[31], Lalāmaka is the name given to chaplet of flowers.

Kādambarī and Harṣacarita contain a lot of references to flower ornaments. The forehead garland of Śūdraka was made of Mālatī flowers, while that of Tarāpīḍa was of red flowers. We have references to Dūrvā grass wearing on the ears. In Harṣacarita, it is described as resembling emerald. In a context, Grahavarman is described as decorated by garland prepared with Mallikā flowers. He also wears a Vaikakṣaka, which is a flower garland worn across the chest like a Yajñopavīta^[32]

Lotus flowers were used to decorate hair also. The expression Śīrṣopanīyanīlotpala, in Priyadarśikā is an example for it^[33].

According to Subandhu^[34], wearing Lalāmaka is a peculiarity of eastern ladies.

Arkapuṣpa, Nāgapuṣpa and Mattapuṣpa are the flowers, displayed in the locks of the images of Śiva^[35]

Floral ear ornaments are generally known by the names Avataṃsaka, Patrāvataṃsaka, Śrutipatra and Patrāṅkura. Kuṭṭanīmata makes references to Avataṃsaka made with Aśoka leaves, Kiṅkirāta, lotus, Sindhuvāra and shoots of mango. A Mṛṇālavalaya -bracelet of lotus stalk is also mentioned^[36].

Mālatīdhāma, mentioned in Viddhasālabhañjikā^[37] may perhaps be a garland or girdle made of Mālatī flowers.