Dressing style of Women

The dress of men and women in this period seems to be almost the same. Among women, no distinction is seen in dressing style irrespective of class distinction. Like men, among women also there ought to be some difference in the color, fabric or design of the costume based on their economic or social status, which is not visible through sculptural medium. The upper part of the body in most cases are shown bare, except for those who belong to high strata of the society represented in the sculptures of this period as either a chief queen or celestial woman. Even in this case the body is not entirely dressed up and was limited to a breast-band (kucha-bandha). The figure of Nappinai (fig. 112), standing by the side of Krishna in the Govardhanadhari panel at Mamallapuram has shoulder straps supporting the kucha-bandha. Similarly sculptures of Durga from places such as Kailasanatha temple at Kanchipuram, Jalanathesvara temple at Thakkolam (fig. 113), Tirumulasthanattup-perumanadigal shrine in the Bhaktavatsala temple complex at Tirukkalukkunram, etc., also have shoulder straps. The presence of the art of embroidery or painting the garment with floral and creeper designs in this period is further supported by the designs adorning the kucha-bandha of Durga in the panel of Mahishasuramardini cave temple at Mamallapuram (fig. 114). There seems to be women door-keepers and warriors as well, as indicated by the dvarapalikas guarding the shrine of goddess Durga in the Kotikal-mandapam and also by the sword holding figure of Jaya in the Mahishasuramardini panel of the cave temple at Mamallapuram. These warrior women also wear a kucha-bandha (fig. 115). Probably breast-band was worn only by the women of the upper strata of the society as a symbol of status and modesty or by those professing occupation in the royal court or army. Thus, it seems that the kucha-bandha was used in this period more as a functional necessity than with the purpose of covering. Common women may have covered their upper part of their body with a simple cloth, which may be an extension of the lower garment. It seems that in order to meet the requirements of sculptural aesthetics, the sculptors preferred to carve the upper portion with diaphanous clothing so as to reveal the beauty of female form and the various ornaments, which they wear.

The lower garment (antariya) was made up of a single piece of cloth worn in different styles and bear resemblance with the dhoti. It was wrapped around the waist, held by means of a kati-bandha or kati-vastra and allowed to fall either completely up to the ankle or sometimes reached over the knee or mid-thigh portion. Two styles of wearing the lower garment can be seen, one is the skirt type and the other is the kachchha type. The former type can be noticed in the portrait panel of Simhavarman and his queens in the Adivaraha cave temple at Mamallapuram (fig. 13). Here the chief-queen standing by the side of the king can be seen wearing a skirt type of antariya as indicated by its borders and folds. Similar identification of dress on the basis of its border can be made in the Seshasayi Vishnu panel of Mahishasuramardini cave temple. Here Bhu-devi (fig. 116) seen saluting at the feet of Vishnu has a antariya covering from her waist to ankle. Similarly, Kaumodaki hovering at the top wears an ardoruka, as indicated by its border reaching to her knee portion.

Often the lower garment of female figures is also depicted in diaphanous style. This could be regarded as a necessity for the artisans to meet the aesthetic requirements of the sculptural art. Probably, such a transparent dress was made of very thin material (magnamsuka). It has to be mentioned here that complete nudity is absent in this period and the modesty of female figures is protected by means of a kati-vastra or kati-bandha or even by an uttariya around the waist, which indicates the existence of a dress. In some cases, a short garment in the form of a kaupina can also be seen. In the Gajalakshmi panel of Varaha mandapa at Mamallapuram, all the female figures, comprising of goddess Lakshmi and four of her attendants are shown with transparent lower garment and seems to reveal the kaupina underneath (fig. 117). Perhaps, the intention of such depiction is to match the theme that Lakshmi is being bathed by her attendants. Similar treatment of dress can also be noticed in the depiction of female figures in the Govardhanadhari bas-relief panel as well. The Varaha mandapa also has the figure of Durga with diaphanous garment. However, here the uttariya fastened around Her waist and the kucha-bandha is shown to indicate the dress. Similarly the lower garment of Durga carved on the hind wall of the Draupadi-ratha is indicated by a broad kati-bandha having horizontal stripes, with a prominent knot in the middle. The sculpture from Memalur (Villupuram district)^[1] shows clearly that She is wearing an ardoruka as a lower garment (fig. 118). Further this custom of wearing ardoruka type of lower garment can also be seen in the Mahishasuramardini panel. Here both Durga mounted on the lion and Her attendant Jaya are seen wearing a lower garment reaching only up to their knees. The pair of dvarapalikas guarding the shrine-cell of Kotikal-mandapa also fashions a similar vastra. The Vidhyadharis hovering in the bas-relief panel of Bhagiratha penance show both the ardoruka and kaupina type of diaphanous clothing. Even the common woman folk depicted in the Govardhanadhari bas-relief panel are shown in such a costume. A fine example of the diaphanous treatment of lower garment can be seen on the pair of chamara-dharis (fig. 119) flanking the Gangadhara shrine-cell in the Kailasanatha temple at Kanchipuram. Here both are depicted wearing a purvoruka type of lower garment in the form of a skirt as indicated by the folded borders near the ankles and to the side of their legs. The later Pallava sculpture of Durga in the Tirumulasthanattup-perumanadigal shrine in the Bhaktavatsala temple complex at Tirukkalukkunram, clearly wears a purvoruka as indicated by the series of folds on Her leg portion.

A very fine idea of the dress of a woman can be got from a partially preserved painting of Somaskandamurti in one of the angalaya of the Kailasanatha temple at Kanchipuram (fig. 120). Here Uma depicted in green color is seen seated along with Her lord Siva and child Skanda, wearing a blouse of orange color and a purvoruka as a lower garment. Designed with horizontal strips, in orange and green color. She also wears a green colored kati-bandha with a prominent bejeweled clasp in the middle to support her lower garment. However regarding the exact date of this painting there is some ambiguity among the scholars. In spite of this the painting throws light into the traditional costume of the region.

Footnotes and references:

[1]:

Now in Govt. Museum, Chennai, Acc. No. 90-3/38.