OEC – Textile and Costumes of India

I semester
Unit 1 Textiles and costumes of India. Introduction, history,
types, motifs and symbols, prehistoric textiles and costumes -
costume components for men, women, and children, hair and
hair dresses. Indus Valley Civilization, Vedic age, Mughals,
Guptas

Objective
 To understand the clothing in terms of principles, the present structure, and the
misconception about historical costumes.
 To understand the origin & function of the costume
 To classify the costumes
 To discuss the types of early costumes

Introduction
Indian costume from the earliest time to the beginning of the historical period.
Fthe rom Centuries, Indian Costumes and textiles have been admired for their great
aesthetic and functional qualities. In ancient times, designers in India belong to various
regional schools throughout the country. It was their fine creative instinct and
extraordinary skills that gave Indian textiles their remarkable beauty.
The earliest prototype of a saree was discovered on the status of the mother goddess of
Mohenjo-Daro in the form of a small dhoti wrapped around the waist and the upper torso
covered with jewels. With the passing of each age in India the clothes of men changed
radically, but the women remain more or less loyal to the yard of cloth draped over the
body. The earliest evidence of a costume of men is the form of the Indus Valley
Civilization, which depicted stylistic drapery on a stone’s sculpture of a bearded priest
found at Mohenjo-Daro.
Since then, it has been a continuous process of discovery which has never stopped
through the centuries, about changes in India costume. The Vedic age, the Mauryan &
Sunga period, the Gupta period, and the Mughal period, all have offered significant
discoveries about our rich cultural heritage, the tradition of people, and their life style at
that time.
Certain factors facilitated the production of textiles (quality), one of the most important
being the structure of ancient India’s cost system and traditional joint family, which
bound people to specific occupations and then ensure to the continuity of the textile craft.
Besides the social structure, the religious sentiments. Rituals, richest, ceremonies and
festivals also helped to focus the attention of certain textiles for specific occasions.
Practically textiles for specific occasions every social group had its own preferences and
norms in terms of colors, design and fabric.
The articles of clothing in the beginning were quite simple dupatta, sofa, kamarbandh,
completed on men’s clothing and a saree and adhari with abundance of ornaments were
sufficient of women. These simple articles or it can be these simple dress where however
worn in different ways to give them artistic touch.
Origin of clothing
Clothing is fiber and textile material worn on the body. The wearing of clothing is
mostly restricted to human beings and is a feature of nearly all human societies. The
amount and type of clothing worn depends on physical, social and geographic
considerations. Some clothing types can be gender-specific, although this does not apply
to cross dressers.

Physically, clothing serves many purposes: it can serve as protection from the elements,
and can enhance safety during hazardous activities such as hiking and cooking. It protects
the wearer from rough surfaces, rash-causing plants, insect bites, splinters, thorns and
prickles by providing a barrier between the skin and the environment. Clothes can
insulate against cold or hot conditions. Further, they can provide a hygienic barrier,
keeping infectious and toxic materials away from the body. Clothing also provides
protection from harmful UV radiation.

Fur, leather, grass or leaves were believed to be some of the earliest materials that made
up clothes. These materials were tied around the body, draped or wrapped. Archeologists
and anthropologist’s debate on the exact date of the origins of clothing since clothes
made from fur, leather, leaves and grass deteriorate rapidly compared to other materials.
In Kostensi, Russia, prehistoric sewing needles made of bones and ivory were identified
as from 30,000 BC. There was also a discovery of dyed flax fibers in a prehistoric cave in
the Republic of Georgia that is believed to be 36,000 years old

Functions of clothing

There is no easy way to determine when clothing was first developed, but some
information has been inferred by studying lice. The body louse specifically lives in
clothing, and diverge from head lice about 107,000 years ago, suggesting that clothing
existed at that time. Another theory is that modern humans are the only survivors of
several species of primates who may have worn clothes and that clothing may have been
used as long ago as 650 thousand years ago. Other louse-based estimates put the
introduction of clothing at around 42,000-72,000 BP

The primary function of clothing is the covering of the body as protection against the
elements. In cold regions, it is to keep the body warm. In warm regions, clothes serve as
protection from sunburn or wind damage. Early humans may have saved the skins of the
animals they hunted and used them as clothes to keep warm or gathered leaves and grass
to cover their bodies.

The social aspect of the wearing of clothes is another function. Clothing is used to serve
as class distinction. In American Indian tribes, their chief or leader wore elaborate
headgear. In Ancient Rome, the wearing garments dyed with Syrian Purple were limited
to senators.

Another function of clothing is the maintenance of decency. In the Bible, Adam and Eve
covered their bodies when they realized that they were naked after eating the fruit from
the forbidden tree. In some Islamic countries, women were required to cover the whole of
their bodies except the face. In most societies, it is indecent for men and women to
mingle with others without wearing clothes. With more relaxed standards in modern
times, this function is being undermined as some clothes tend to be provocative that the
distinction of decency is becoming blurred.
Another use for clothing is for uniforms for occupations, affiliations, etc. Judges and
magistrate wear robes in courts. The members of team sports wear identical jerseys to
distinguish themselves from other teams. Even in the military, each unit (army, navy, air
force) have their distinct uniforms.

Self-expression is another function of clothes. In general, wearing clothes with the color
of black is a sign of mourning. Also, modern times have seen the influence of fashion to
pop culture. Elaborate and artistic pieces of clothing for every occasions and moods are
almost always available to most.

Even members of primitive societies are clad in some way, but there are still questions as
to why people started wearing clothes. The time when it began is still unknown.
However, some ideas have become popular.

For Protection

The primary function of clothing is to improve the comfort of the wearer. In hot climates,
clothing provides protection from sunburn or wind damage, while in cold climates its
thermal insulation properties are generally more important. Shelter usually reduces the
functional need for clothing. For example, coats, hats, gloves, and other superficial layers
are normally removed when entering a warm home, particularly if one is residing or
sleeping there. Similarly, clothing has seasonal and regional aspects, so that thinner
materials and fewer layers of clothing are generally worn in warmer seasons and regions
than in colder ones.

Clothing performs a range of social and cultural functions, such as individual,

occupational and sexual differentiation, and social status. In many societies, norms about
clothing reflect standards of modesty, religion, gender, and social status. Clothing may
also function as a form of adornment and an expression of personal taste or style.

Clothing can and has in history been made from a very wide variety of materials.
Materials have ranged from leather and furs, to woven materials, to elaborate and exotic
natural and synthetic fabrics. Not all body coverings are regarded as clothing. Articles
carried rather than worn (such as purses), worn on a single part of the body and easily
removed (scarves), worn purely for adornment (jewelry), or those that serve a function
other than protection (eyeglasses), are normally considered accessories rather than
clothing, as are footwear and hats.

Clothing protects people against many things that might injure the uncovered human
body. Clothes act as protection from the elements, including rain, snow and wind and
other weather conditions, as well as from the sun. However, if clothing is too sheer, thin,
small, tight, etc., the protection effect is minimized. Clothes also reduce the level of risk
during activity, such as work or sport. Clothing at times is worn as protection from
specific environmental hazards, such as insects, noxious chemicals, weapons, and contact
with abrasive substances. Conversely, clothing may protect the environment from the
clothing wearer, as with doctors wearing medical scrubs.

Humans have shown extreme inventiveness in devising clothing solutions to

environmental hazards. Some examples include: space suits, air conditioned clothing,
armor, diving suits, swimsuits, bee-keeper gear, motorcycle leathers, high-visibility
clothing, and other pieces of protective clothing. Meanwhile, the distinction between
clothing and protective equipment is not always clear-cut, since clothes designed to be
fashionable often have protective value and clothes designed for function often consider
fashion in their design.

The wearing of clothes also has social implications. They are worn to cover those parts of
the body which social norms require to be covered, and act as a form of adornment, as
well as other social purposes.

The most logical explanation is that early man needed it for shelter. Those living in
freezing areas would have realized that animal skin can reduce the cold. Apart from the
weather, early clothing provided some protection from wildlife. Some leather skins can
protect the body from animal and insect bites.
Aside from dressing the body, protection for the feet would follow. The location where
this awareness began is uncertain. But it’s possible that it could have occurred in several
areas at the same time.

Given these facts, safety is the reason often cited as to why people started wearing
clothes.

To Signify Social Status and Power

As civilization progressed, dresses and costumes acquired more important functions. As

religions became widespread, special attires were needed to distinguish the priest / guru
from the layman.

When chieftains and kings started to rule, special costumes were required. By the time of
the Sumerians and Egyptians, the rulers had become very distinct. The pharaoh was clad
in a unique manner. The rule has been followed by the other great civilizations. From
ancient Rome to the kingdoms in Europe, costumes became symbols of power.

Even today, clothes denote authority. Justices, clergy and military officers wear distinct
costumes. It thus becomes clear that one reason why people started wearing clothes was
to designate status.

Culture aspects

In most cultures, gender differentiation of clothing is considered appropriate for men and
women. The differences are in styles, colors and fabrics.

In Western societies, skirts, dresses and high-heeled shoes are usually seen as women's
clothing, while neckties are usually seen as men's clothing. Trousers were once seen as
exclusively male clothing, but are nowadays worn by both genders. Male clothes are
often more practical (that is, they can function well under a wide variety of situations),
but a wider range of clothing styles are available for females. Males are typically allowed
to bare their chests in a greater variety of public places. It is generally acceptable for a
woman to wear traditionally male clothing, while the converse is unusual.
In some cultures, sumptuary laws regulate what men and women are required to wear.
Islam requires women to wear more modest forms of attire, usually hijab. What qualifies
as "modest" varies in different Muslim societies; however, women are usually required to
cover more of their bodies than men are. Articles of clothing worn by Muslim women for
purposes of modesty range from the headscarf to the burqa.

Men may sometimes choose to wear men's skirts such as togas or kilts, especially on
ceremonial occasions. Such garments were (in previous times) often worn as normal
daily clothing by men. Compared to men's clothing, women's clothing tends to be more
attractive, often intended to be looked at by men. Women of higher status throughout
history have worn more modest clothes.

Using dresses to make oneself more attractive is not new. There are plenty of
archaeological evidence showing ancient cultures engaged in the same practice. Even
among primitive and tribal societies, men and women wear special dresses and costumes.

No one knows exactly when individuals realized that garments can make them look
attractive. However, the use of dresses and costumes to appear more desirable spread
throughout the world.

Religion

Religious clothing might be considered a special case of occupational clothing.

Sometimes it is worn only during the performance of religious ceremonies. However, it
may also be worn everyday as a marker for special religious status.

For example, Jains and Muslim men wear unstitched cloth pieces when performing
religious ceremonies. The unstitched cloth signifies unified and complete devotion to the
task at hand, with no digression. Sikhs wear a turban as it is a part of their religion.

The cleanliness of religious dresses in Eastern Religions like Hinduism, Sikhism,

Buddhism, Islam and Jainism is of paramount importance, since it indicates purity.
Clothing figures prominently in the Bible where it appears in numerous contexts, the
more prominent ones being: the story of Adam and Eve who made coverings for
themselves out of fig leaves, Joseph's cloak, Judah and Tamar, Mordecai and Esther.
Furthermore the priests officiating in the Temple had very specific garments, the lack of
which made one liable to death.

In Islamic traditions, women are required to wear long, loose, non-transparent outer dress
when stepping out of the home. This dress code was democratic (for all women
regardless of status) & protection from the scorching sun. The Quran says this about
husbands & wives: "...They are clothing/covering (Libaas) for you; and you for them."

Jewish ritual also requires rending of one's upper garment as a sign of mourning. This
practice is found in the Bible when Jacob hears of the apparent death of his son Joseph.

To Perform Other Activities

As civilizations developed, men and women started using them for other reasons. Opera
and stage dramas became very popular, and became showcase events for beautiful
costumes. Festivals and parades also became occasions for individuals to dress up. As
cultures developed, national costumes were also developed.

The introduction of various sports competition led to more uses for outfits. Today events
like football, hockey etc require special apparel. The fashion industry has also become
huge, with new designs always coming out.

We may never know the exact time or reason why people started wearing clothes. But
regardless of when it began, it has become an indispensable part of most societies.

Keywords
Protection, Sumerians, Pharods, Fur, Leather, Leaves

Summary
Clothing suffers assault both from within and without. The human body sheds skin cells
and body oils, and exudes sweat, urine, and feces. From the outside, sun damage,
moisture, abrasion and dirt assault garments. Fleas and lice can hide in seams. Worn
clothing, if not cleaned and refurbished, itches, looks scruffy, and loses functionality (as
when buttons fall off, seams come undone, fabrics thin or tear, and zippers fail).

In some cases, people wear an item of clothing until it falls apart. Cleaning leather
presents difficulties, and bark cloth (tapa) cannot be washed without dissolving it.
Owners may patch tears and rips, and brush off surface dirt, but old leather and bark
clothing always look old.

Self Assessment Test

Answer the following: Each carrier 2 marks

1. Which were the earliest materials made up for clothing?
2. What are the primary functions for clothing?
3. What is the role in protection in clothing?
Answer the following: Each carries 3 marks
1. Explain the purpose of clothing.
2. What is the role in social status & power?
3. Name some articles of clothing which were used in beginning
Answer the following: Each carries 5 marks
1. Religious clothing might be considered a special case of occupational clothing.
Explain
2. Write a note on function of clothing
3. Explain the culture aspects of clothing

Indus Valley Civilization, Vedic Age

Introduction
Vedic Indian’s had a taste for beautiful costumes and were the basic Garments but with
different style. The Satavahanas came out with tunics and coats with printed and women
designs. The cushions were influenced by foreign tribes and so there costumes did not
remain quite the same. The Gupta’s were great patterns of act which led to the lastly the
Mughal’s who come to India and brought with them the glamour of gold which expanded
the total range of textile and costume. But with the down fall of Mughal Empire and
coming of British ray, there was fusion of western and Indian designs in costumes. Men
are switched to suits and Women have styled their cloths differently. The 19 th and 20th
Century has experienced every changing fashion insatiable search for something
different. The new millennium, where the young generation have taken to the field of
designing. Using modern tools it is their responsibilities to present the richness of Indian
costume and to adapt the traditional motif’s to contemporary profession.

Indus Valley of civilization

Indus Valley civilization was one of the world’s first greatest civilizations. The
civilization began to flourish about 4500 years ago that in 2,500BC to about 1700 B.C
and was centered to in the vast rivers plans of what is now Pakistan and North western
Indian. The civilization is sometimes called the Harappa civilization. It is named after the
Pakistani town of Harappa, where archeologist first discovered evidence of the culture.
Harappa was accidentally discovered in 1921 as Mohenja Daro, a twin city in lower
Indus valley. Harappa, a geometrically planned brick city built on the banks of Ravi
River. The culture of the earliest is known civilization of India; the Indus valley
civilization takes its name from Harappa. The city was excavated by Dr.Shani of Indian
archeological department headed by Sri. Sohn Marshall.

Area and Population

The Indus culture was spread over parts of Sindh, Baluchiston, Punjab, Rajasthan,
Haryana, western Uttar Pradesh, and Gujarat and these covers an ever of about 12,99,600
sq kmts which is bigger than the ancient civilization of Egypt and Mesopotamia, The
skeleton remains in the Burials found at various sites show that the population was
Homogeneous. The people of Harappa and Mohenjo-Daro appear to be tall, long headed
and high Domed, with broad Noses.

MEANS OF LIVELY HOOD

Agriculture:
Most of the cities were along the rivers. Adequate water supply and rich favored
agriculture wheat and Barley were the main crops. Dates and pears were also grown.
Sesame and Mustered were used for oil. Harappa’s were the earliest people to grow
cotton for textiles. Sheep, goat, dogs, humped cattle, buffalos and elephants were
domesticated.
Trade
The Harappa’s traded with Afghanistan, Mesopotamian and towns beings along the
pursing gulf, east Turkistan, Tibet and Burma. Many Harappa seals have been discovered
in Mesopotamia. They imported semi precious stones, Sushas Jads, Turquoise, Lapis,
Lazuli and Hematite from outsides. Lothal was an important seaport. They export food
grains, textiles and other furnished goods. They also knew the cut of measurements;
weights and measures were uniformly and accurately graded throughout the area.
Arts and Crafts
The people of Indus volley civilization knew mining, metal working and the art of
constructing well planned building. They were acquainted with the carting of brazened
copper. These metals were the Principal metals used for making tools. Other metals used
were god, silver and lead silver was more common than gold, they also knew the art of
paints and dues. The various occupations in which people were emerged with spinning
and weaving of cotton and wool. Pottery making, bead making and seal making. Pottery,
chiefly of red clay was glazed and ornamented with black boards or with figures of birds,
animals and geometrical designs. Terracotta work was also an important it no of trade
Stone seals and human figures were the greatest artistic creation of their culture.
Harrappa seals carried the pictures of animals like horned bull, buffalo, tiger, rhinouries,
goat and elephant. The terracotta figures represented. God and goddesses whom them
worshipped A stone probably of priest or a ruler has been discovered at Harrappa. The
most remarkable image of metal is that of a dancing girl found at Mohenjo-Daro.
Way of Living
Political Organization-It is not clear as to what sort of political organization they had.
Script- Indus civilization invented the art of writing their photographic script had 270
characters. But the Harappan script has not depicted as yet.
Religious -Indus valley people did not worship their gods in temple’s 11/0 temples have
been found at any site. The most commonly found a figure is that of mother goddess. A
scatted figures of a male god pashupati was also found the god had 3 head had born and
was also found the god had 3 head had born and was surrounded by an elephant, a tiger, a
buffalo and 2 dear. People also worshipped some tree like papal and animals like bull
tiger, goat, and snake.
Decline-The decline of Indus valley civilization started between 2000 and 1800 BC the
cultures at various sites faded out gradually. The wrought by natural faces is thought to
be the principle season for their disappearance. More than a thousand years passed before
there were cities once again in India

Vedic age

The Indus culture war studied by studying the remains of those times. Since the
Harappa inscription are still not disappeared as yet. But for the period below 1500 and
1000 BC one of the Indian scriptures the Big Vedas describes the life of those times the
period for the Vedic age is 1500 BC to 600 B.C. it is divided in to two period. The Big
Vedic age (1500 B.C to 1000 BC) and the later Vedic age (1000 BC to 600 BC).

Rig Veda refer to the Indian inhabitants as Aryans, whether they come as invader from
the north or they were indigenous inhabitants, is still under speculation they lived in the
area called Saptasindhana, the land of seven rivers represented by the Indus and it
principal tributaries. Their chief tribes were turvasu, pusre, kuru, drawn, charities and the
most important conflict way the bottle of the ten kings. A king Sudras belonging to the
ruling tribes had a priest vashishtha way more learned, rudras replace vishvamitra by him
an angry vishvamitra gathered ten kings and fought against suda. Sudas noon the bottle
and established the supremacy of the bharatas tribe and the country was eventually
named off for it.
Vedic Literature:
Ancient Indian scriptures are the puranas and stihas (Ramayana and Mahabharata), which
tell the history of India, the Vedas which tell about the religion and lifestyle of Indians
and the Upanishads, which tell about the path to attain god. Vedic literature can be
divided into shruti and smriti. Shruti in Sanskrit means that which is have smriti means
that which is remembered.
The Vedas are the external truth that the Vedic called ristis, are said to have during their
deep modifications. The Vedas are not considered the works of the human mind, but an
expression of what has been realized through by Vedic rishis, who had powers to see
beyond the physical phenomena. Hence they are considered to be a divine origin; the
Vedic truths were originally transmitted by the rishis to their disciples over thousands of
years. At a later date there were complied by saga Vedic for the benefit of future
generations.
Shruthi includes four Veda. Rig, Athara. Each Veda consists of the parts: Mantras or
sambitas, Brahmas and Aranyakas, Mantras are from the proportions of gods. Brahmanas
are the detailed description of the ceremonies (yogas) Aranyakae called Upanishads) are
the essence of Vedas. Smriti sculpture is desired from the Vedas and their subsidence,
upavedas: Dealing with sociology. Science of defense, music, medicine and; dealing with
Sanskrit, grammars, dictionary and astrology, they were, written to explain and elaborate
the Vedas, marking then understandable and more meaningful to the general population.
All authoritative writings outside the Vedas are collectively refused to as smriti. Smriti
includes the manustruthi Dharma, shastras, Agamas tantra and Durshan shashana’s.

COSTUMES
According to expert, the garment of Vedic age can be classified as:
 Nivi- The under garment
 Vastra – The basic garment
 Adhivastra- The upper garment
Men and women continued to wear three unstitched garments has in Vedic times, the
main garment was uttaraya of white cotton linen or flowered muslin. Some times
embroidered in golden precious stones. For men it was an unstitched length of cloth
draped around the lips and between the legs in the kaybandhi style. Extending from the
wais to the cuff or ankles or worn even shorter by present by present and common men.
The Uttaraya was secured at the waist by a rash or kayabadh often tied in a loop knot at
the centre front of the waist.
The Kaybandhi could be simple sash bentharka, one with drum headed knot at the ends.
Muroja a very elaborate band healed knot at the ends, Muroja a very elaborate band of
embroidery. Flat and ribbon shaped attire or a many stringed one, kalpuka. The third item
of clothing called uttaraya was another length of material usually fine cotton rarely silk
which was utilized as a long scarf to drop the top half of the body. In the town, people
dressed in flowered muslin embroidered with jewels.Cattle breeding were important
during the Vedic age as it is known and in addition to milk production, it provided skin,
leather, bone, hour and wool which were used in various craft.
According t the evidence found, dress in these days constituted of two garments which is
the losa (lower garments) and the adhiras (upper garments). In the days of looter
somhitastheneri (under garments) had also camp in to use. The alkel a garment appear to
be described as women and well fitting. Though the meaning is doubtful a sort of mantle
on look (drop) is often mentioned. A special dress called vathya was warned by the bride
during the marriage ceremony and was tater given away to a Brahmin wear of various
colors, for ever. No clear evidence of different dresses for men and women were found.
The hair was kept combed and tidy. The use of the word in “opas” indicates plating of the
hair. A maid had braided their hair in to the plates, from the description of Rudhras and
kushas it would appear that men also worn their hair plated or braided and vasisthas were
noted for wearing their hair in the plaited or coil on the right side.
Kusa grass was apparently on material used for primitive clothing the kura grass skirt
which the Vedic sacrifice’s wife had to wear round her hips. Women her ordinary dress is
evidently of pre-historic grass garment Another material for clothing was wool (Uma)
probably the first source of wool in vedic Indian was from goat, just as the first skin worn
were of goat silk is common in vedic rituals.
MALE & FEMALE COSTUME
The women of Harappa and Mohanjodaro with the exception of jewelers, these figures
are based on the waist and is shown wearing a scanty garment terminating at the knee. A
similar skirt is worn by deities are figured on the seat found at these sides though it
appears to be shorter in front then at the back.

The skirt is represented as held by a girdle that seems in some cases to be stringed to
beads and in others. It would appear to be bands of women material fastened in front by a
brooch of some kind. It is difficult to reduce anything of the costume worn by men from
the male figures portrayed. Some appear and some wear a loin cloth, from the status. It
appears a rope with or without ends was worn over the left shoulder and the right arm.
One status wears a garment extending well below the knee and another that of a seated
figure is dressed in a long skirt secured round the waist by a running card.

Round buttons of copper, bronze, steatite are common but it is not certain whether they
were merely for decoration or served for some purpose also. The decorative impulse of
there people seemed to have found full expression in the head dresses, which are
complicated and very elaborate. The elaborate head dresses completely hides the hair
giving no inkling of fashion, but in one statue of women’s hair hangs down her back.
Figures of Goddess shown sometimes have a fleet tied with a show at the end.
Cylindrically globular, fibular, rectangular, Oval and semi circular forms, apart from the
science of metrology, the people of the use of various hard stones, At Harrappa, a special
type of bead wear made by commenting 20 r more stone together. The steatite beads
sometimes were given a special treatment of heating to whiten the surface.

 Head Ornaments
Several cone like ornaments have been found in Harappa. A cane of gold (with a silver
loop inside near the top, evidently to fasten the ornaments on the head). A cone of silver
in lay with a circular piece of shell and other of farce, pottery, shell and steatite. Several
hair pin, hair pin beads, one of them which was of bronze have been found in Harappa.
Several fan shaped ornaments have also been recovered from Mohanjodaro. They are
made of France and probably represented the outspread tail of dancing peacock. Some of
the made terra-cotta figures from Mohenjo-Daro were also sent to be wearing an
ornaments shaped like a horn.

 Ear Ornaments
Several Ear Ornaments have been found in Harappa and Mohenjo-Daro which can be
Divided in two different groups: Ear tops, drops, studs, rings and Ear pendants.

 Neck Lace
People wore three ornaments on the neck-a-chocker one necklace descending down to the
collar bone and the third one covering the breasts. All these ornaments were made of
strips of metal and beads.

Most of the necklaces recovered from the Indus valley are made of beads. From Harappa,
a necklace with 13 pendants composed of several beads strung together on a copper wire,
four-long faced beads of gold, two cylindrical gold beads and dice of gold, were
retrieved. Apart from this a necklace of 240 gold beads were also found, an astonishingly
large number and variety of beads made of gold, silver and copper have been dug up
during excavation. A number of pendants were also found in Harappa a beautiful heart
shape bead made of gold, a crescent shaped. Agat pendant and a lotus shaped pendant
which has 8 petals, with lapis lazuli and red stones alternatively. The Mohenjo-Daro
beads made of jad, jasper, agat, cornelian, chalcedony and gold have been found. Unlike
Harappa, were a copper wire which was used to string the beads, here a thick gold one
was used.

 Bangles and Bracelets

Bangles of Metal, shell and terracotta were commonly used. Men used a bond with a
disk to cover their arms. The clay bangles excavated from Harappa are well polished and
colored. Art Mohenjo-Daro, metal bangles with a thin sheet of gold wrapped over a care
of shell were prepared as hallow tubes and bent silver, copper and bronze bangles have
also been found at Mohenjo-Daro which are generally round or oval in shape.

 Finger rings
Finger rings made of copper or bronze wire, round in section, and have been found in
Mohenjo-Daro. There are also rings with severed coils, ranging from 2 to 7 copper wires.

 Girdles
Several types of girdles are seen on terracotta figurines of Harappa. On another figure
that of bearded Mon, a girdle composed of conical round disk beads have been noticed.
Busts are shown wearing girdles, but they seem more elaborate than those from Harappa.
 Anklets
As most of the terracotta figurines from Harappa and Mohenjo-Daro have not survived
intact, it is difficult to guess the type of foot ornaments, however a few skeletons with
anklets of beads have been found in Harappa.

KEY WORDS
Nivi, Vastra, Adhivastra, Harappa, Mohanjodaro

SUMMARY
In the Stone Age period, man leant the use of many things apart tools, the wheel, metals,
pottery etc. He understood the uses of cotton, wool to make clothes instead of the skin
and furs he used to drape over his body. In Indus valley period men just warped pieces of
cloth around their shoulder like shawl and short skirt. By the early Vedic period there
were different name given to costumes worn such Nivi under garment, vastra the upper
garment, Adhivastra the upper garment.

SELF ASSESSMENT TEST

Answer the following: Each carrier 2 marks
1. Name the classification of Vedic age
2. What are the ancient Indian scriptures of Vedic age?
3. Name two accessories used by women’s of Harappa
Answer the following: Each carrier 3 marks
1. List name of the garment used in Vedic period. Explain
2. Explain the Vedic literature of Vedic age in brief
3. Short note:
A) Head ornaments
B) Earrings
C) Anklets
Answer the following: Each carrier 5 marks
1. Describe the details about Indus valley civilization comparing with present fashion in
India
2. Explain in detail costumes of men, women used Vedic period
3. Explain the way of living of Indus civilization people

Unit 2 Ancient Indian textiles and costumes. History and social

life, costumes, jewelry, textiles and dyes - Indus valley, Vedic,
Mauryan, Shatavana period, Kushans, Gupta and Mughals.
Mughal
Introduction

During India’s Mughal rule, master weavers were brought to India to produce fine
works of art for palaces and forts. These master rug weavers were given artistic license to
integrate their own vision, coupled with popular Indian motifs. Moreover, the master
weavers were inspired by the European botanical paintings that were brought to trade
with the West. The culmination of these creative influences produced rug designs with
scrolling vines and flowers, but much truer to real life.

History of Mughals
 The name Mughal is derived from the original homelands of the Timurids, the
Central Asian steppes once conquered by Genghis Khan and hence known as
Moghulistan, "Land of Mongols". Although early Mughals spoke the Chagatai language
and maintained some Turko-Mongol practices, they became essentially Persianized and
transferred the Persian literary and high culture to India, thus forming the base for the
Indo-Persian culture and the Spread of Islam in South Asia.

INFLUENCES ON THE INDIAN SUBCONTINENT

Mughal influence on South Asian art and culture a major Mughal contribution to
the Indian subcontinent was their unique architecture. Many monuments were built by the
Muslim emperors, especially Shahjahan, during the Mughal era including the UNESCO
World Heritage Site Taj Mahal, which is known to be one of the finer examples of
Mughal architecture. Other World Heritage Sites include Humayun's Tomb, Fatehpur
Sikri, the Red Fort, the Agra Fort, and the Lahore Fort The palaces, tombs, and forts built
by the dynasty stands today in Agra, Aurangabad, Delhi, Dhaka, Fatehpur Sikri, Jaipur,
Lahore, Kabul, Sheikhupura, and many other cities of India, Pakistan, Afghanistan, and
Bangladesh. With few memories of Central Asia, Babur's descendents absorbed traits and
customs of the Indian Subcontinent, and became more or less naturalized.

Mughal influence can be seen in cultural contributions such as

 Centralised, imperialistic government which brought together many smaller

kingdoms.
 Persian art and culture amalgamated with Indian art and culture.
 New trade routes to Arab and Turkic lands.
 The development of Mughlai cuisine.
 Mughal Architecture found its way into local Indian architecture, most
conspicuously in the palaces built by Rajputs and Sikh rulers.
 Landscape gardening
 Although the land the Mughals once ruled has separated into
what are now India, Pakistan, Bangladesh, and Afghanistan, their
influence can still be seen widely today. Tombs of the emperors
are spread throughout India, Afghanistan, and Pakistan.The
Mughal artistic tradition was eclectic, borrowing from the
European Renaissance as well as from Persian and Indian
sources. Kumar concludes, "The Mughal painters borrowed individual motifs and certain
naturalistic effects from Renaissance and Mannerist painting, but their structuring
principle was derived from Indian and Persian traditions."

Origin of Mughal painting

The art of painting developed as a blending of Ilkhanate Persian and Indian ideas.
There was already a Muslim tradition of miniature painting under the Sultanate of Delhi
which the Mughals overthrew. Although the first surviving manuscripts are from Mandu
in the years either side of 1500, there were very likely earlier ones which are either lost,
or perhaps now attributed to southern Persia, as later manuscripts can be hard to
distinguish from these by style alone, and some remain the subject of debate among
specialists. By the time of the Mughal invasion, the tradition had abandoned the high
viewpoint typical of the Persian style, and adopted a more realistic style for animals and
plants.

Mughal painting immediately took a much greater interest in realistic portraiture

than was typical of Ilkhnate Persian miniatures. Animals and plants were also more
realistically shown. Although many classic works of Persian literature continued to be
illustrated, as well as Indian works, the taste of the Mughal emperors for writing memoirs
or diaries, begun by Babur, provided some of the most lavishly decorated texts, such as
the Padshahnama genre of official histories. Subjects are rich in variety and include
portraits, events and scenes from court life, wild life and hunting scenes, and illustrations
of battles.
 Influence of mughal jewelry

Jewellery in Mughal period, from 1526 till the late sixteenth

century, can only be estimated at as there is lack of concrete
evidence. However, it is a fact to be noted that the Mughal
treasury was one of the fullest and best endowed in all of Indian
history, and therefore jewellery too must have occupied a place
of prominence.

The existing trends in jewellery under the Mughals were a continuation of the
amalgamated style of Islamic and Hindu artistic styles. Various artefacts of the 8th
century that have been excavated show the adaptability of both conventional Islamic and
traditional Indian styles along with the originality and creativity of artists in various
regions. Other than the Mughals, other Islamic powers have also dominated India, which
include the Ghaznavids, the Ghurids, and the Turkish and Afghan dynasties.

Babur was the first Mughal ruler and he seized power from the Lodhi Dynasty in India.
Thus the culmination of centuries of Islamic rule was seen in the Mughal dynasty and all
these collective influences were witnessed in their life, art, architecture and crafts,
including in jewellery. India was blessed as the only significant source of diamonds,
before their discovery in Brazil in the 18th century. The talent and tradition for fine and
artistic craftsmanship, coupled with a wealthy and active class of patrons, has also been
responsible in shaping Mughal jewellery.

Mughal Architecture

Mughal architecture, an amalgam of Islamic, Persian, Turkish and Indian architecture,

is the distinctive style developed by the Mughals in the 16th, 17th and 18th centuries in
what is now India, Pakistan, Bangladesh and Afghanistan. It is symmetrical and decorative
in style.
 The Mughal dynasty was established after the victory of Babur at Panipat in 1526 (the
Battle of Panipat). During his five-year reign, Babur took considerable interest in erecting
buildings, though few have survived. The influence of Mughal Architecture lives on in
Afghan, Iranian, Pakistani and Indian architecture today.

The Taj Mahal, the "teardrop on the cheek of eternity" (Rabindranath Tagore), was
completed in 1648 by the emperor Shah Jahan in memory of his wife Mumtaz Mahal. Its
longest plane of symmetry runs through the entire complex except for the sarcophagus of
Shah Jahan, which is placed off centre in the crypt room below the main floor. This
symmetry extended to the building of an entire mirror mosque in red sandstone, to
complement the Mecca-facing mosque place to the west of the main structure.

Taj Mahal

The Taj Mahal (1630–1648) in Agra, India and the Shalimar Garden (1641–1642) in
Lahore, Pakistan, are two sites which are on the world heritage list of UNESCO. The Taj is
considered to be one of the most beautiful monuments of the world and was included in the
New Seven Wonders of the World list

Shah Jahan
Rather than building huge monuments unlike his predecessors, Shah Jahan built elegant
edifices. His predecessors built huge buildings to demonstrate their power. The force and
originality of their building style gave way under [Shah Jahan] to a delicate elegance and
refinement of detail, illustrated in the palaces erected in his reign at Agra and Delhi. Some
examples include the Taj Mahal at Agra and the tomb of Mumtaz Mahal, the wife of Jahan.
The Moti Masjid (Pearl Mosque) in the Agra Fort and the Jama Masjid at Delhi are
imposing buildings, and their position and architecture have been carefully considered so as
to produce a pleasing effect and feeling of spacious elegance and well-balanced proportion
of parts. Jahan also built the Tomb of Jahangir and sections of the Lahore Fort that include
the Moti Masjid, Sheesh Mahal, and Naulakha pavilion which are all enclosed in the fort.
He also built a mosque named after himself in Thatta called Shahjahan Mosque. Another
mosque was built during his tenure in Lahore called Wazir Khan Mosque, by Shaikh Ilm-
ud-din Ansari who was the court physician to the emperor

Keywords
Ghaznavids, the Ghurids, and the Turkish and Afghan dynasties

Summary
The Mughal dynasty ruled most of the Indian subcontinent by 1600; it went into a slow
decline after 1707. The rise of the Mauryan’s is a land mark in Indian History with this
advent which began and fairly continued at an accurate account of the Indian fairy continued
at on accurate account of the Indian history. The Mauryan originated a highly centralized
form of government with autocratic features touching almost all spheres of human life. The
Gupta Empire was founded in northern India at the beginning of the fourth century AD after
a long period of chaos which ensued when the Kushan Empire ended in the middle of the
third century

Self Assessment Test

Answer the following .Each carriers 2 marks
1. Name any 2 mughal architecture
2. In what way the art & painting was developed
3. What was the major Mughal contribution to the Indian subcontinent
Answer the following .Each carriers 3 marks
1. Write a short note on mughal architecture.
2. What is the influence of mughal in contribution to culture?
3. Explain briefly about the origin of mughal painting
Answer the following .Each carriers 5 marks
1. Explain briefly about History of mughal
2. Explain the architecture of mughal
3. Describe the jewelry of mughal

The Mughal dynasty ruled most of the Indian subcontinent by 1600; it went into a
slow decline after 1707. The Mughals suffered severe blow due to invasions from
Marathas and Afghans due to which the Mughal dynasty were reduced to puppet rulers
by 1757. The remnants of the Mughal dynasty were finally defeated during the Indian
Rebellion of 1857, also called the 1857 War of Independence. This period marked vast
social change in the subcontinent as the Hindu majority was ruled over by the Mughal
emperors, most of whom showed religious tolerance, liberally patronizing Hindu culture.
The famous emperor Akbar, who was the grandson of Babar, tried to establish a good
relationship with the Hindus. However, later emperors such as Aurangzeb tried to
establish complete Muslim dominance, and as a result several historical temples were
destroyed during this period and taxes imposed on non-Muslims. During the decline of
the Mughal Empire, several smaller states rose to fill the power vacuum and themselves
were contributing factors to the decline. In 1739, Nader Shah, emperor of Iran, defeated
the Mughal army at the huge Battle of Karnal. After this victory, Nader captured and
sacked Delhi, carrying away many treasures, including the Peacock Throne.

Middle ages

The Mughals were perhaps the richest single dynasty to have ever existed. During
the Mughal era, the dominant political forces consisted of the Mughal Empire and its
tributaries and, later on, the rising successor states - including the Maratha Empire -
which fought an increasingly weak Mughal dynasty. The Mughals, while often
employing brutal tactics to subjugate their empire, had a policy of integration with Indian
culture, which is what made them successful where the short-lived Sultanates of Delhi
had failed. Akbar the Great was particularly famed for this. Akbar declared "Amari" or
non-killing of animals in the holy days of Jainism. He rolled back the jizya tax for non-
Muslims. The Mughal emperors married local royalty, allied themselves with local
maharajas, and attempted to fuse their Turko-Persian culture with ancient Indian styles,
creating a unique Indo-Saracenic architecture. It was the erosion of this tradition coupled
with increased brutality and centralization that played a large part in the dynasty's
downfall after Aurangzeb, who unlike previous emperors, imposed relatively non-
pluralistic policies on the general population, which often inflamed the majority Hindu
population.

THE MAURYAN COSTUME

 The rise of the Mauryan’s is a land mark in Indian History with this advent which
began and fairly continued at an accurate account of the Indian fairy continued at on
accurate account of the Indian history. The information about this period has been
primarily based on two interesting literary works. One is ‘Arthashastra’ written in
kautilya the prime minister of Mauryan king. Chandragupta and the other is ‘Indica’
written in Greek by, the ambassador of saleucusnicator at the Mauryan court. In addition
to this, Jain and Buddhist. Literary text throws light on the Mauryan history. Besides,
inscriptions on rocks and pillar’s also provide a good deal of information about this
period.

Political history
Changdragupta maurya was the founder of the Mauryan dynasty. He won through the last
nanda ruler Dhanananda, who was weak and unpopular, with the help of his guide and
mentor kautilya (chanakya) and ascended the throne of Magadha in 321 B.C. not much is
known about the early life of Chandragupta. The prevalent view is that he belongs to
kshathriya class (worrier class) called Maurya which was the republican glass during the
days of Buddha. Another view is that he was the son of a magodhan king of the nanda
dynasty by a women of the lower caste (Shudra) named Mura.
Artha Shastra
A treatise on state craft attributed to chanakya of kautilya, chief adviser to Chandragupta
Maurya who ruled Magadha in the 4th century B.C. Though the present from of the book
probably dates from a later period, it is of exceptional interest as a primary source on the
theory & practice of political economy in ancient India, especially during the Mauryan
Empire. It deals with act. Of acquiring, maintaining, and extending political powers while
ensuring of full exchequer and therefore the economic prosperity of the kingdom. The
author clearly had administrated and military experience and wrote a practical hand book
for rulers rather than a theoretical treaties.
Kautilya
Kautilya authored the ‘Arthashasthra’ and was a close advisor to Chandraguptha maurya.
Kautilya was educated at toil and had a firm group of both the theory and practice of
administration and polities. His Arthashasthra elevates the state to a position where
service to it entails imperatives unknown to morality.
Megasthenas
Megasthenas was the Greek ambassador to the court of Chandragupta Maurya at pattali
putra. He combined an account of the geography, people, products, institution and the
customer of India has he absolved them in the capital city of the Mauryan empire and in
the course of his travels in his book Indica it was the first authority and details description
of India by a foreign traveler of information on the ancient period in general and the
Mauryan era in particular.

Mauryan Administration

The Mauryan originated a highly centralized form of government with autocratic

features touching almost all spheres of human life. The king was at the apex of the
administration. He personally led the troops during the war. He was the sole dispenser of
justice and was assisted by a council of minister. The king took into consideration, the
opinion of his ministers but the final decision was his own. The council of Ministers was
appointed by the king himself. A number of officials were appointed to manage the
affairs of the state senapathi was the commander-in-chief of the army. The treasurer was
responsible for the royal treasurer, while the chief collector was responsible for the
collection of revenues. Adyakshas or superannuate were made in charge of the various
departments of state like agriculture, liquor. The empire was divided into four provinces
and they were sub divided into districts. The home province war under the direct
supervision was controlled by a prince or a member of the royal family. The 3 important
officials of the district were pradesika who was overall in charge of the district
administration, Rajukar worked in judicial rapacity as well as in revenue administration
and Yuktas who maintained records and accounts between the districts and the villages,
there was an inter-mediatory level of administration consisting of 5 or to villages. Gopa
and stanika were the 2 important officials. The village headman was chosen from among
the village elders.
Life in Mauryan Age

Mauryan society was primarily divided into 4 castes, Brahmins (priests),

kshathriyas (warriors), Vysyas (traders) and kshudras who revved in all the 3 rice formed
the main part of did. The Vedic religion, Jainism and Buddhism were the main religious
flourishing during the Mauryan age. Mauryan economy was controlled and regulated by
the state. Agriculture was the main livelihood of the people. Main agricultural products
wave the rice, coarser grain, sesame, pepper and saffron, pulses, wheat, vegetables,
sugarcane and fruits of various kinds. Trade was done both by sea and land routes. The
state claimed one fourthly ¼ of the produce as land revenue. Import, Export duties, and
excise duties on goods were prevented In return for taxes the state provided infrastructure
like roads and irrigation, security and protection.
Decline.
Ashoka died in 232 B.C and with him depicted the glory of the Mauryan Empire.
Ashoka was succeeded Dhasaratha and the Mauryan rule continued for about 50 year’s
often the death of Ashoka. The empire was divided into western and eastern part. But all
the successions of Ashoka were weak and incomplete literal dissension and foreign
inversions destroyed the power and prestige of the Mauryan Empire. The rise of the
Brahminical order also weakened the state. Brihadetha, the 7 th king in succession to
Ashoka was last ruler of the Mauryan dynasty when he was killed by his Brahmin general
Pushyamitra, who ascended the thane in 187 BC and founded the Sunga dynasty.
Costume
Men and women continued to wear 3 unstitched garments as in Vedic time’s the
main garment was of white cotton, Linen or flowed muslin, sometimes embroidered in
gold or precious stones. For men, it was an unstitched length of cloth dropped around the
hips and between the legs in the Kachha form / style, extending from waist to calf or
worn even shorter by the peasants and commoners. The antariya was secured at waist by
a sash or kaybandh, often tied in of looped knot at the centre front of the waist. The
kayabandh could be a simple sash, vethaka. One with drum headed knot at the ends,
Murya a very elaborate bond of embroidery, flat and ribbon shaped, pattik, or a many
stringed one, kalabuka The 3rd item f clothing called Uttariya was another length of
material, Usually thin cotton, very rarely silk, which was utilized as a long scarf to drape
the top half of the body. The Uttariya was worn in several ways to suit the comforts of
wearer; very elegantly by those at court, who drape it on both shoulders or diagonally
across the chest and casually knotted at the waist, or it could be worn loosely across the
back and supported by elbows or wrist, but for the laborer and crafts man. It was more a
practical garment to be tied around the head as protection from sun, or tightly around the
waist leaving the hands free for work, or again as a towel to map the face when sweeping.
This was made of care cotton.

Women tied their antariya in different ways. Originally opaque, it later move and
were transparent A simple small antariya or strip of cloth, langoti, was attached to the
kayabandh at center front and then, passed between the legs and tucked in at the front,
and the shorter end, finally drawn between the legs, kachcha style, and tucked in at the
waist at the back. Another version, the lehga style, was a length of cloth wrapped around
the hips tightly to form a tubular type of skirt. This was not drawn between the legs in the
kachcha style.

The Uttariya of upper class women were generally of thin material decorated with
elaborate borders and quite often worn as a head covering. Their kayabandhi were very
similar to those of the men. In addition, they sometimes were a padka a decorative piece
of cloth attached to the kayabandh in front by tucking in one end at the waist. The padka
was made from plaited wool or cotton, twisted yarn or leather and at times it was also
woolen.Although footwear in often mentioned in Vedic literature. There is no sculptural
evidence for this period, except I the case of soldiers who were the Persian boot. It may
be because shoes could not be taken inside a stupa or Buddhist temple, that they were not
depicted on the sculptures on stupas. In the more remote villages and jungles shepherds,
hunters and people of similar occupation’s were mostly aboriginals or belonged to lowest
caste They generally more simple on bleached coarse variety of the cotton antariya and
turbans, much the same as we find today and the practice of tattooing was finally
common. The more primitive tribes who liked in the forests more garments made from
grass (kura), skins and fur.

Head Gear and Hair Styles

Women generally covered their heads with the uttariya worn straight or cross
wise, often resplendent with beautiful borders. The hair, centrally ported, was made into
10.2 plates or in a large knot at the back. The uttariya could be worn simply hanging
down at the back or recurred to the head with a head band, or with. One end arranged in
at the top of the head. A skull cap was sometimes worn under or over the uttariya to keep
is in place. Or at times it could be decorated with a fringe or pendants. Helmets too are
seen as headgear for Phrygian women who probably worn long sleeved tunic with tight
fitting trousers and Phrygian cap which was conical and head gear flap, in India, the
Amazons wore in addition, the crossed at chest belt vaikaksha, with metal buckles, child
and sword. Women sometimes used turbans of decorated cloth.
As regards made headgear, in the early Maurya period. There is no of the turban
Mauli, but in the sunga period we find great emphasis on this form of male heard dress.
There were remarkable headdress in which the hair itself was often twisted into a braid
along with the turban cloth. This twisted braid was then arranged to form a protuberance
at the front or the side of the hard. But never at the centre top, as only priests could use
this style. Over the turban a band was sometimes used to hold in place. In addition,
decorative elements like a jeweled broach or a jhalar (fringe) could be attached to the
turban or lend folded in pleats & tucked in like a fan.
Jewellery
From the sculptures we find there was a richness and profusion in the jewelry
worn by both men & women. In the jewelry worn by both men & women. In the
Arthashastra attributed to kautilya, and in the sculptures of the period we find references
which show us that the material used most frequently were gold and precious stones like
corals, rubies sapphires, agates am crystals, Pearls too were used and beads of all kinds
were used including those made of glass. Certain ornaments were common to both sexes,
like earrings, necklaces armlets, bracelets and embroidered belts. Earring or karnika were
of three types, a simple ring or circular called kundala, a circular, disc earring known as
dehri and earnings with a flower like shape known as karnaphul.
Necklace of 2 kinds were worn. A short one called kantha which was broad and flat,
Usually gold inlaid with precious stones, and along one, the lambanam Bajubandham or
armlets of gold and silver beads were worn on the upper arm, and were occasionally
studded with precious stones, Bracelets called kangan, very often made of square or
round beads of gold and richly embroidered cloth belts completed by the made ensemble.
Women ware girdle called Mekhala, a hip belt of Multi stringed beads, Originally made
from the red seed kakila but now made of god and silver beads with shapes ranging from
to round to square and oval Dancing girls added on to their chains of god and silver to
which belts were attached anklets and thumb and finger rings were worn by all women
they could be in the form of a simple ring, kana, a thick chain, sankla, man ornamental
circle with small belts called ghungru. There is an evidence of nose ring in the period.
Fore head ornamentals consisted of a thin plate of gold or silver stamped in various
patterns, as well as a store shaped sitar and bina, and a tiny ornament called bindi.

Military Costume
Military costume consisted of a sleeved tunic and with crass straps across the
chest to carry the quiver, and a leather belt with sward the lower garment was more often
the Indian antariya rather than the Persian trousers. The headgear was usually the turban
or head bond where as the Persians had worn the painted cap. The mixture of foreign and
indigenous garment is interesting or shows one of the early phases of evolution in the
costumes of Indians.

Textiles and Dyes

Wearing of fine and course varieties of cloth was well established. Cotton silk,
wool, linen and jute fabrics were readily available. Furs and the better varieties of wool
and silk (like turar, called kausheya like an Era Muga silk of Assam), Yellowish in its
natural state but when bleached called patrons. Were used kerayakka high quality cotton
or silk and the bright red woolen blankets of Gandhara were worth of a small fortune
each Material similar to the khin kweel (which is the interweaving of silk and gold or
silver wires in beautiful floral pattern) was in great demand and even exported to Babylon
long before the Mauryans.

Donar Figure ( Bharut)

Antrariya – Lower cloth, calf length of fine cotton with ends in front, worn in
kachcha style that is between the legs.
Uttariya – Upper cloth of printed cotton worn cross wise on the head.
Kayabandh – Embroidered flat cloth band, pattika style, worn in a looped knot
with fringed ends.
Mekhala – six – stringed hip belt of gold or silver beads.
Lambanam- Long necklace made of chains held at intervals by float bands,
phalokohara style.
Kantha – Short necklace of 5 stings of beads in gold or silver
Karnika – Trumpet– shaped earrings
Kangan – Ten bracelets adorning each hand
Baju Band – Decorative armlets worn on upper arms.
Kara - Anklets of twisted wire worn on both ankles
Sitara – Star – shaped fore heard ornaments of gold or silver with a stamped pattern.
Yaksha ( Baranmara)
Antariya – Langoti style small strip of cloth drawn between the legs and attached to card
at the waist.
Uttariya – There are 2- one has an embroidered border & is worn cross wise over the
head with a jhalar at the forehead; the other is dropped across the back & over the both
arms
Kayabandh- Flat cloth band pattika style, worn is lopped knot.
Mekhala- 4 stringed bead hip belt.
Pattika – A strip of women beads tucked in at the front of the waist reaching the
ankles.
Athan – Bead necklace worn as over a left shoulder and under the right arm
Kangan- Five bead bracelets on each wrist.
Baju Band – 3 rows of beads on upper arms.
Karnika – Trumpet – shopped earrings
Lambanam – Long necklace of beads
Kantha – Short necklace of beads
Sankla – Anklets made of thick coins.

Kuvera Yaksha ( Bharut)

Antariya – worn in kachcha style, both and equal ends being taken between the legs after
taken between the legs after knotting the front there ends are legs then held diagonally
fluted & tucked in to the waist at the back to hand between the up to the ground.
Uttariya: Upavati fashion, worn across the chest and over the left shoulder.
Kayabandh – Maurya style drum headed knobs at the ends, tied in a looped knot.
Baju Band – Armlets with elaborate incised pattern.
Kangan – Several bracelets on each waist.
Karnika – Trumpet shopped earrings or karnaphul.
Mauli – Turban of printed cloth held by decorative bands wound over the top knot of hair
and at the side of the head.

Donar Figure (Bharat)

Antariya – Worn in same style as in kuvera yaksha except that only one long end is
tucked in at the back, the other is a finely pleated apron tucked into the centre front of the
antariya.
Uttariya – Looped at the chest and thrown back over both shoulders.
Kayabandh- Embroidered flat cloth band, pattika style.
Lambanam- Phalakohara style necklace.
Bajuband- simple loop patterned arm let.
Kangan- 3 bracelets of beads on each wrist.
Karnika – Trumpet shopped earning, karnaphul.
Mauli- Turban in which the long hair & cloth are twisted together, wound around the
heard and made into a top knot in front, the cloth then continues to be wound around the
heard and fixed with a separate band.
Headgear
Uttariya – Printed or woven in a lozenge design in stripes, with a border; it is worn cross
wise on the head and thrown back hanging to the waist like a pouch.
Kantha – Short necklace with granulated design.
Lambanam- in Pholokahara style
Hair Ornament – Jeweled and worn below centre parting of the hair.
Courtier ( Bharut)
Long hair is twisted into a top knot at the left around which the turban is wound so as to
completely cover it, ornaments hear shopped broach is fixed on the right front & a
decorative band visible at the front is tied under the turban.
Turban in wound around the long hair tied in a top knot; to fix the turban in place a
decorative band has been used; large disc type earrings & tow strings of beads a worn the
necks.
GIRDLE
Mekhal – Elaborate 7 stringed saptaki, the 2 outer strands are square, interspersed with
rows of beads and oval inlaid beads with it are worn 2 rows of beads across and aslant the
hips in gold or hard stone, and are early imitations of the strings of the red roti seeds that
were originally worn, the pattika, a flat ribbon shaped embroidered girdle of cloth of gold
is also worn
EARRINGS
Karnika – This style of a caring, in the form of a triratna or triple gem of Buddhist triad,
was peculiar to the Buddhist; this symbol was used on necklaces & to decorate soldiers.
Scabbards & the top of standards.
NECKLACE
Kantha :
Short necklace called tilari ; each string consist of graduated pearls and a central gem

Four Stringed – Chaulari

Five Stringed – Paklari
Seven Stringed – sattari
COURT LADY
Antariya
Worn extremely snort in the kaccha style; the end that passed between the legs has been
tucked in at back the other piece is looped to mid-thigh in front and the end tucked in a
small looped trill at centre
Kayabandh
there are two: one is a wide sash tied with a loop on both sides to knees with streamers at
each side at hips, hanging to floor length; the other is the kaskshya-bandha, a thick
jeweled roll worn aslant which has a large clasp at left hip
Mekhala
A 5-stringed pearl or jeweled hip belt, it holds the antariya and cloth kayabandh in place
Hara
Necklace of pearls; probably strung on thread or wire and worn between the breasts
Kantha
Short necklace of beads with central pendant and looped chains
Yakshi:-Female costume (door keeper gandhara)
Antariya: worn in lehnga style it is simply wrapped around and tucked in at left.
Uttariya: worn casually over shoulders.
Tunic: with front opening held at the neck by button the long ruched sleeves have
ruching sleeves have ruching held by jeweled bands or buttons. The tunic is fork length
and form fitting
Mekhala: - 4 stringed girdle with clasp & decorative leaf at center.
Hara: - 1 long pearl necklace worn between breasts and 1 short 1 with pendant
Headdress: - chaplet of leaves or turban with central flower worn around top knot of hair
Sitara:- Round ornament on four head
Prince ( Goli)
Antariya
Kayabandh: - Twisted rope like around waist, then twisted twice to form a knot at right
hip. The other end suspended in front ends in two ornamental tips.
Belt: - Ornamental
Kantha: - 3 of different sixes worn together to form a collar
Keyura: - Flat and decorative armlets
Valaya: - 3 on each hand of some heavy metal or bone and incised with patterns
Kandala: - Royal ring – type earrings with tassels suspended
Headgear: - Ornamental disc worn in front of jatta or knot of hair
HEADGEARS
KHADGAVAHINI FEMALE SWORD BEARER
Antariya: - With longer end pleated at centre front, short end tucked in between the legs
in kachcha style
Kayabandh: - Worn around waist in a looped knot
Mekhala: - Ornamental girdle
Torque: - Necklace of twisted wire
Kayura: - flat armlet
NAGA KING
Kantha: - Broad and flat short necklace with pieces
Karnika: - Large cylindrical earring with decorative design base metal
Kangan: - heavy and cylindrical
Baju: - Thick cylindrical with pendant pieces (base metal)
Head – dress: - The turbans is twisted around the head and with a decorative ban the hair
is long, as by aboriginals, and is arranged in a top know five crests with ribbon like
serpents hoods.

Keywords
Kantha, Karnika, Mekhala, kandala, kayabandh ,antariya

SUMMARY

Men and women continued to wear 3 unstitched garments as in Vedic time’s the
main garment was of white cotton, Linen or flowed muslin, sometimes embroidered in
gold or precious stones. From the sculptures we find there was a richness and profusion
in the jewelry worn by both men & women. In the jewelry worn by both men & women.
In the Arthashastra attributed to kautilya, and in the sculptures of the period we find
references which show us that the material used most frequently were gold and precious
stones like corals, rubies sapphires, agates am crystals, Pearls too were used and beads of
all kinds were used including those made of glass.

Self Assessment Test

Answer the following .Each carries 2 marks
1. Name any two types of headgears of mauryan costumes
2. What are the two types of kayabandh?
3. Which were the fabrics used in mauryan period
Answer the following .Each carriers 3 marks
1. Write a short note :
a. Yaksha (Baranmara)
b. Kuvera Yaksha (Bharut)
c. Girdle
Answer the following .Each carries 5 marks
1. Explain in detail
a. Jewelry
 b. Mauryan administration
c. Costumes
SATAVAHANAS COSTUMES

Introduction

The Satavahana or Andhra Empire was the next great empire after the Mauryan,
and was established in the Deccan just as the Mauryan Empire was coming to an end. It
endured for 460 years in unbroken continuity and ran parallel, for a while to the Kushan
Empire with which it struggled for almost a century. On the whole, it was a peaceful and
economically prosperous period and trade and industry increased tremendously,
especially with Rome. The Romans brought in a continuous flow of Roman gold, which
helped to raise the level of economic life and changed the pattern of urban life a great
deal.Racially, the early people of the Deccan were hybrid race, a mixture of aboriginal
Dravidians (or pre-Dravidians) and Scythians (Sakas), Parthians (pahlavas), and Greeks
(Yavanas). Buddhism and Mauryan culture had built up a civilized structure even before
the Satavahanas established their empire. In the third century AD the Satavahanas were
ousted by the Ikshvakus, who were themselves from the Deccan.

Satavahans Costume

The people of the Deccan were a hybrid race, a mixture of the aboriginal
Dravidians and foreign invaders. In the first century BC their costumes too were an
interesting mixture of foreign and indigenous garments. All these clothes are represented
in Caves IX and X in Ajanta.
In the first Century BC we find tunics, Kancuka in the stripes or beehive design worn by
attendants or hunters. The kancuka are of mid-thigh length with short or long sleeves; in
some the opening is on the left side, and in others it is at the front. The tunic worn by a
king in hunting dress has no discernible opening at the neck, so it is probably at the back.
Necklines too differed in that some were V-shaped and others were round in shape. With
the tunic a thick Kayabandh was wound once or twice around the waist. An elaborate
turban ushnisa, intertwined with the long black hair of the aborigine wearers was also
worn. In addition to these, hunters wore two-bar type sandals with a strap for buckling,
which is still seen in the Deccan. As influences from the north and from foreign invaders
percolated, the Dravidians aboriginal village women too changed their costume using
short antariyas, large uttariyas with elaborate board borders covering the head and back,
tikkas on the forehead and a series of conch or ivory bangles on the arms. Except for the
skirt, they looked very much like the Lambadis who are a gypsy tribe of Deccan today.

Headgear and Hairstyles

The aboriginal jungle women wore rolls and headbands with peacock feathers
attached. Village women and commoners wore their hair in a simple knot at the nape
covered by a large uttariya, which, at times, had elaborate broad borders. Court
attendants and women of the richer classes wore their hair more fashionably, either in a
topknot on the right side with a loop of flowers suspended or in a plate. A fillet, simple or
gold embroidered could be worn to hold it in place. Most often, the long hair of men was
worn intertwined with lengths of cloth to form an ushnisa in a variety of ways.
Frequently it had a knot - the original top knot of the aboriginal-covered with the cloth of
the turban. This knot could be at centre front or protrude over the forehead in a conch-
shell shape, or the tuft of hair could be visible on top of the turban.

10.4 VILLAGE WOMAN [Ajanta, Cave X]

Antariya: Lower cloth, calf length, of fine cotton with fluted ends in front, worn in
kachcha style, that is between the legs.
Uttariya: Upper cloth of printed cotton worn crosswise on the
head.
Kayabandh: Embroidered flat cloth band, pattika style, worn in a
looped knot with fringed ends.
Mekhala: Six-stringed hip belt of gold or silver beads.
Lambanam: long necklace made of chains held at intervals by flat bands, phalakahara
style.
Kantha: Short necklace of five strings of beads in gold or silver.
Karnika: Trumpet-shaped earrings.
Kangan: Ten bracelets adorning each hand.
Baju Band: Decorative armlets worn on upper arms.
Kara: Anklets of twisted wire worn on both ankles.
Sitara: Star shaped forehead ornament of gold or silver with a stamped pattern.

COURT ATTENDANT [Ajanta, Cave X]

Antariya: of sheer cotton
Kayabandh: narrow pattika tied in a bow at the front of the waist
kantha: phalakahara style necklace
Karnika: simple disc-type earring called dehri
Kangan: both granulated and plain seen on the left arm
Hairstyle :centre parting, hair hanging loose to the shoulders and
decorated with ornamental chains.
Sitara: large disc at the forehead, either painted or affixed
she carries a fan typical of the times.
NAGA KING [Ajanta, Cave IX]
Kantha: broad and flat short necklace with four pendant pieces (base-metal)
Karnika: large cylindrical earring with a decorative design (base metal)
Kangan: heavy and cylindrical bracelets (base metal)
Baju Band: thick cylindrical armlets with pendant pieces (base metal)
Head-dress: turban is twisted around the head and held with a
decorative band; hair is long, as worn by aboriginal, and is arranged in a
topknot and five crests with ribbons like serpents' hoods

KING AS HUNTER [Ajanta, Cave X]

Kancuka: mid-thigh length with round neck and short magyar-type
sleeves
Kayabandh: wide, worn wrapped around the waist a couple of times and tucked in
Ushinsa: turban cloth wound with hair and twisted into a top knot; the rest of the cloth is
then wound around the head
Karnika: ring-like earrings, kundala type Although not visible, a short langoti type
antariya is worn.

Prince [Amravati, 1st period]

Antariya: worn in kachcha style to below the knees; the stripes indicate the folds of the
drape

Kayabandh : kakshyabandha style, a thick roll worn aslant at the hips with beautiful
ornamental tips and tied in large loop-knot
Belt : with granulated pattern worn higher than antariya
ATTENDANTS [Ajanta, Cave X]
Attendant on the left wears her hair parted at the left and hanging
loosely to the shoulders, her earrings are of the pendant type; the one on
the right is the umbrella brearer or chhatradhar, she wears her hair held
back by a fillet and made into a top knot

The umbrella carrier was usually a woman. the umbrella was normally a
colored one with a handle of gold workmanship, a white one being the
emblem of the king alone.

COURTIER [Ajanta, Cave X]

Hair is brought forward in a 'conch-shell' knot and decorated; the fillet is probably used to
keep it in place; earrings are disc-type and necklace is of the phalakahara style with
chains held at intervals by flat pieces
NAGA PRINCE [Ajanta, Cave IX]
Hair is arranged in a large top knot at the centre with the turban wound around
the head after twisted it around the knot, a brooch decorates the centre of the top
knot; earrings are of the double disc-type; necklace, bracelets are made of base
metal, and are probably hollow
SOLDIERS [Ajanta, Cave X]
Kancuka: both have short-sleeved tunics with round necks, the
neck opening is obviously at the back
Karnika: Kundala or ring-type earrings
Hairstyle: simple top knot at the centre of the head very like that
worn by the hiimen of South Manipur and Burma called the Chins
They carry battle axes.
10.5 WOMAN [Amravati, 4th period]
Ghagri: gathered calf-length skirt probably with a drawstring at the waist
kayabandh: simple vethaka style, but longed and wound several times around
the waist
Uttariya: wrapped loosely around the hips and draped over the left arm
valaya: several bangles of ivory or rhinoceros horn
Kundala: ring-type earrings
Manjira: hollow light anklets, coiling twice around and probably making a
tinkling sound in movement
Hairstyle: drawn back into a simple knot at the nape
KING [Nagarjunakonda]
Antariya: falling to the ankles, worn in kachcha style with pleats tucked in at the
back and visible in the front between the legs
Kayabandh: elaborately rolled and twisted at the waist, falling in graceful loops at
the sides with one rope-like loop in front
Belt: ornamental belt
Kantha: short necklace
Keyura: straight-edged armlets with pressed or filigree decoration
Kundala: ring-type earring
Valaya: simple bangles at the wrists
Hairstyle: loose to the shoulders with a small fringe at the forehead
Headgear: an ornamental disc attached to a head band or top knot
PRINCE [Goli]
Antariya: falling to the ankles, worn in kachcha style with pleats
tucked in at the back and visible in the front between the legs
Kayabandh: twisted rope-like around the waist, then twisted twice to form a knot at
the right hip; the other end suspended in front ends in two ornamental tips
Belt: ornamental belt
Kantha: three of different sizes worn together to form a collar
Keyura: flat and decorative armlets
Kundala: ring-type earring
Valaya: three bracelets on each hand of some heavy metal or bone and incised with
patterns
Kundala: ring-type earrings with tassels suspended
Headgear: an ornamental disc worn in front of jatta or knot of hair
ATTENDANT [Nagarjunakonda]
Kancuka: probably calf-length, it has a gathered neckline with a band and long
sleeves decorated with a braid in stripes
Uttariya: heavy and long, draped formally across the chest and around the left
shoulder
Kayabandh: heavy, wound twice around the waist
headgear: turban with a fan-shaped frill
Probably a master of ceremonies, he carries a staff

CHATTRADHARA: UMBRELLA BEARER [South India]

Antariya: ends a little above the ankles; kachcha style, with the pleated ends passed
between the legs and tucked in at the back centre
Kancuka: fork-length tunic with long sleeves and round neckline
Kayabandh: simple sash vethaka style, tied at the back with hanging ends
Umbrella: white with gold work on the handle
Hairstyle: simple, worn hanging loose at the back
MALE [Ajanta, Cave X]
Ushnisa: turban tied casually in a knot with one end going down the other up
Kundala: suspended disc-type earrings
FEMALE [Ajanta, Cave X]
Kirita: a crown-like headgear with semi-circular motifs in front and larger lotus
petal designs at the back
Kundala: large ring-type earrings
PRINCE [Nagarjunakonda]
long hair is drawn up into several twisted loops held by two twisted coils, the
shorter hair being allowed to hang loose around the face
BUDDHA [Goli]
Antariya: worn in lehnga style
Uttariya: the upper cloth has a border and is worn in an interesting drape on the
left shoulder and hangs at the back loosely to fork length
Hairstyle: in top knot
This depiction of the Buddha as preacher gives an idea of the type of clothes
worn by those Buddhist monks who travelled and preached both in India and abroad. The
color of their garments was reddish-yello and no jewellery was worn

BUDDHA [Goli]
Antariya: worn in lehnga style almost upto ankle length
Uttariya: wide upper cloth draped across the body to form folds and resting on the
left arm
Hairstyle: in top knot
This depiction of the Buddha on his way to Yashodara, his wife. The Uttariya could
be the large chaddar used when travelling.

Keywords
Antariya, Uttariya, Kirita, Umbrella, Kundala, Valaya , Keyura

Summary
On the whole, it was a peaceful and economically prosperous period and trade and
industry increased tremendously, especially with Rome. The Romans brought in a
continuous flow of Roman gold, which helped to raise the level of economic life and
changed the pattern of urban life a great deal.Racially, the early people of the Deccan
were hybrid race, a mixture of aboriginal Dravidians (or pre-Dravidians) and Scythians
(Sakas), Parthians (pahlavas), and Greeks (Yavanas). Court attendants and women of the
richer classes wore their hair more fashionably, either in a topknot on the right side with a
loop of flowers suspended or in a plate. A fillet, simple or gold embroidered could be
worn to hold it in place.

Self Assessment Test

Answer the following .Each carries 2 marks
1. What are the two types of headgears used by satavahans
2. What are the types of costumes used by village women
3. Name any 2 umbrella barriers
Answer the following .Each carriers 3 marks
1. Describe the costumes of women in satavahans
2. Describe the types of headgears used.
3. Explain the costumes of prince in satavahans
Answer the following .Each carriers 5 marks
1. Explain in detail about the costumes in satavahans
2. Explain in detail about the costumes of king as hunter
3. Write a note on the satavahans evolution

- Kushans Costumes

Objective
 To understand the historical life & social life of kushan
 To describe the costumes of men
 To describe the upper garment of kushan
 To explain the art of kushan

Introduction

The Kushan Empire was an empire in South Asia originally formed in the early 1st
century AD under Kujula Kadphises in the territories of ancient Bactria around the Oxus
River (Amu Darya), and later based near Kabul, Afghanistan. The Kushans spread from
the Kabul River Valley to defeat other Central Asian tribes that had previously conquered
parts of the northern central Iranian Plateau once ruled by the Parthians, and reached their
peak under the Buddhist emperor Kanishka (127-151), whose realm stretched from
Turfan in the Tarim Basin to Pataliputra on the Gangetic Plain

The Kushan dynasty

The Kushan dynasty had diplomatic contacts with the Roman Empire, Sassanid Persia
and Han China. While much philosophy, art, and science was created within its borders,
the only textual record we have of the empire's history today comes from inscriptions and
accounts in other languages, particularly Chinese. The Kushan control fragmented into
semi-independent kingdoms in the 3rd century AD, which fell to the Sassanians who
targeted from the west. In the fourth century, the Guptas, an Indian dynasty also pressed
from the east. The last of the Kushan and Sassanian kingdoms were eventually
overwhelmed by the Hepthalites, another Indo-European people from the north.

Origin

Some traces remain of the presence of the Kushans in the area of Bactria and
Sogdiana. Archaeological structures are known in Takht-I-Sangin, Surkh Kotal (a
monumental temple), and in the palace of Khalchayan. Various sculptures and friezes are
known, representing horse-riding archers, and significantly men with artificially
deformed skulls, such as the Kushan prince of Khalchayan (a practice well attested in
nomadic Central Asia). The Chinese first referred to these people as the Yuezhi and said
they established the Kushan Empire, although the relationship between the Yuezhi and
the Kushans is still unclear. On the ruins of ancient Hellenistic cities such as Ai-
Khanoum, the Kushans are known to have built fortresses. The earliest documented ruler,
and the first one to proclaim himself as a Kushan ruler, was Heraios. He calls himself a
"tyrant" on his coins, and also exhibits skull deformation. He may have been an ally of
the Greeks, and he shared the same style of coinage. Heraios may have been the father of
the first Kushan emperor Kujula Kadphises.
The Chinese Hou Hanshu chronicles gives an account of the formation of the Kushan
empire based on a report made by the Chinese general Ban Yong to the Chinese Emperor
c. 125 AD:

"More than a hundred years later [than the conquest of Bactria by the Da Yuezhi], the
prince of Guishuang (Badakhshan) established himself as king, and his dynasty was
called that of the Guishuang (Kushan) King. He invaded Anxi (Indo-Parthia), and took
the Gaofu (Kabul) region. He also defeated the whole of the kingdoms of Puda (Paktiya)
and Jibin (Kapisha and Gandhara). Qiujiuque (Kujula Kadphises) was more than eighty
years old when he died. His son, Yangaozhen, became king in his place. He defeated
Tianzhu [North-western India] and installed Generals to supervise and lead it. The
Yuezhi then became extremely rich. All the kingdoms call [their king] the Guishuang
[Kushan] king, but the Han call them by their original name, Da Yuezhi."

Historical life and social life

The two completely distinct styles of clothing in Kushan art were:-
 The crafts man from eastern Rome brought the Graceo-Roman style of clothing in
Gandhara, the northern part. This is why the dresses shown in sculptures of this
period resembled the classical Greek and Roman garments- the Chiton, himation,
stola, tunica, chlamys etc.
 The second style of clothing arose in Mathura which was the southern capital of
the empire. This style was a direct continuation of the native Indian schools of
Bharut and Sanchi.
 The costumes in this period varied from region to region. The ordinary dress
consisted of Antariya, Uttariya and Kayabandh and turban for men. With the
advent of the Kushans, the fashion of wearing sewn garment made head way with
all classes of Indians in north India.

Males Attire
Kushans costumes may be divided into five types.
 The costumes worn by indigenous people-Antariya, Uttariya and kayabandh
  The costumes worn by guardians and attendants of the harem (Muslim women) -
the sewn kancuka reddish brown in colour.
 The costumes worn by foreign Kushan rulers
 The costumes worn by other foreigners such as grooms, traders etc
 There is fifth category- a mixture and indigenous garments. This category brought
a great change in the clothes by replacing some of the purely draped Indian
garments with cut and sewn garments.

Upper garments

 The upper garment of Kushan period consisted of a Tunic with long sleeves. It had
a slit for the neck opening. The dress had evolved from a nomadic culture based on
the use of the horse. This tunic could be simple or elaborately decorated.
 Another form of upper garment was a close fitted knee length Tunic which was
made of leather and was worn with a short calf length woolen coat or Caftan which
was worn either loose or crossed over from right to left and secured by a belt of
leather or metal.
 The third garment called Chugha was worn occasionally. The Chugha was a coat
like garment decorated with a border down the chest and hem line and had slits to
facilitate movement.
The clothes of this period were simple but, they were often adorned with stamped gold
or metal plates which were square, rectangular, circular or Triangular in shapes. These
plates were sown in lines or at the central seams of the tunic. These plates not only
adorned the tunic but also help to lift the tunic in the middle for riding by gathering the
cloth along the seams. An early version of this tunic was worn by the Saka warriors in
whom the tunic was simply picked up and tucked into the belt on two sides at centre front
for freedom of knee movements.
Kushan art
The art and culture of Gandhara, at the crossroads of the Kushan hegemony, are the best
known expressions of Kushan influences to Westerners. Several direct depictions of
Kushans are known from Gandhara, where they are represented with a tunic, belt and
trousers and play the role of devotees to the Buddha, as well as the Bodhisattva and
future Buddha Maitreya.

During the Kushan Empire, many images of Gandhara share a strong resemblance to the
features of Greek, Syrian, Persian and Indian figures. These Western-looking stylistic
signatures often include heavy drapery and curly hair, representing a composite (the
Greeks, for example, often possessed curly hair).

In the iconography, they are never associated however with the very Hellenistic
"Standing Buddha" statues which might therefore correspond to an earlier historical
period. The style of these friezes incorporating Kushan devotees is already strongly
indianized, quite remote from earlier Hellenistic depictions of the Buddha

Kushan Carnelian seal representing the "ΑΔϷΟ" (adsho Atar), with triratana symbol left,
and Kanishka's dynastic mark right
Keywords
Antariya, Uttariya, kayabandh, Greek, Syrian, Persian

Summary

The Kushans were one of five branches of the Yuezhi confederation, a possibly
Tocharian Indo-Europeannomadic people who had migrated from the Tarim Basin and
settled in ancient Bactria. During the 1st and early 2nd centuries AD, the Kushans
expanded across the northern parts of the Indian subcontinent at least as far as Saketa and
Sarnath near Varanasi (Benares), where inscriptions have been found dating to the era of
the Kushan emperor Kanishka, which began about 127 AD. Around 152 AD, Kanishka
sent his armies north of the Karakoram Mountains. They captured territories as far as
Kashgar, Khotan and Yarkant, in the Tarim Basin of modern-day Xinjiang, China. A
direct road from Gandhara to China was opened which remained under Kushan control
for more than 100 years. The security offered by the Kushans encouraged travel across
the Khunjerab Pass and facilitated the spread of Mahayana Buddhism to China.

Self Assessment Test

Answer the following. Each carries 2 marks
1. What is the division made to men’s attire costume in kushan period?
2. Name the style of clothing in kushan period.
3. Name the images depicting Kushan Empire.
Answer the following. Each carriers 3 marks
1. Write a short note kushan art
2. Explain the evolution of kushan’s
3. Describe the historical & social life of kushan’s
Answer the following. Each carry 5 marks
1. Explain in detail :
a) Males attire
b) Upper garment
 2.Describe the kushan dynasty

Unit 3
Northern traditional textiles. Traditional woven textiles of North states of India –
Brocades of Banaras, Chanderi and Tanchoi, Himru, Pipli -Traditional costumes of
North India - Jammu & Kashmir, Punjab, Himachal Pradesh, Haryana, Uttaranchal
and Uttar Pradesh.

I) BANARAS BROCADES - UTTARPRADESH

Banaras Brocade, also known as Kin-khab, is a closely woven silk fabric
with designs worked out in gold and silver. Banarasi weavers were unique in
their patterns. Nakashabands were the master craftsmen in Banaras and
specialized in Jala. Brocade weaving centre were originally established in
the capitals of kingdoms and holy cities to fulfil the demand for expensive
fabrics by Royal families and temples. Alaipura and Madanpura were the
two great traditional weaving centres of Banaras Brocade, each producing
distinctly different brocades. Nature served as the primary source of design
making with the floral forms, called Butis and Butas. Butis are small in size
often made ofsingle flower, bird, animal or leaf. Jal or net design, also
known as Jangala, is another pattern of Banaras Brocade. Banaras Jal is
very delicate. Colour plays a vital role in weaving of Banaras Brocade. Red
and pink colours were very popular, particularly among the common people.
Zari is a specially prepared silk thread, with metallic mounting of silver
and gold.
Raw material
Brocade weaving, especially with gold and silver, has been an age old
tradition in India. There are two broad classes of Brocades:
• Brocades of pure silk and cotton blends, and
• Zari brocades with gold and silver threads.
The most important material used in brocade weaving is silk. It facilitates
lovely waves, is durable, strong, fine and smooth. There are several varieties
of raw silk of which the main ones used for brocades are Tanduri, Banaka
and Mukta. Tanduri is imported from Malda and other places. Benga Banaka
is a thinner and finer variety and is mostly used to weave soft fabrics such
as turbans and handkerchiefs. Mukta is a coarse and durable silk used for
kimkhabs, as fine silk does not withstand heavy gold patterns.
Silk: The basic raw material of many types of brocade is mainly mulberry
silk thread. This was originally imported from China, Persia and central Asia
and later was also brought from Italy. Apart from the inherent beauty of silk
brocades, the fact that they were / made from nonindigenous materials added
to their value.
 Japanese and Chinese silk threads were renowned for their superior
qualities of evenness and shine. Mulberry silk was found in India in Assam
and Bengal. It also grew in Chota Nagpur, Bihar, Punjab and Kashmir. The
well known varieties of silk are munga and tassar. Murshidabad became a
flourishing silk centre in the 18th and 19th centuries. Most of the silk
produced at these centres was exported and a small percentage was used by
local weavers.
 Raw silk is specially treated for brocades. It is first twisted (called silk
throwing) after which the threads undergo reeling and checking for
uniformity and roundness. When the yarn has been processed, it is bleached
and “de-gummed” as raw silk has a gum like substance (sericin) it its
composition. This has to be removed in order to bring out the sheen and
softness and to enable penetration of the dye. The task has to be done with
great care as the fibres can weaken or get damaged. The silk is boiled in
soap water for certain duration and then sent for dyeing.
Zari:
Zari is the gold and silver thread used in Indian brocades. These were
produced mainly in Surat and Varanasi. Kalabattu, the gold and silver thread
is not a wire of gold but a specially prepared thread of silk with metallic
mounting of silver and gold. Zari is of two types – Badla and Kalabattu.
 Badla zari is made of flattened gold and silver wires with a peculiar
stiffness which cracks and therefore has gone out of favour among
contemporary weavers. Kalabattu is a thin silver or gold wire that is wound
around silk or cotton and now even rayon thread. It is not uncommon to find
a blend of gold and silver zari in brocades. This impact is called Ganga
Jamuni.
Motifs and Patterns
The poppy, rose, jasmine, lily, swan, bulbul (nightingale), hunting scenes
(Shikarghara), the deer, the tiger and elephant, or the God Krishna and the
gopis (milkmaids), the mango, flame (Kalka), scrolls, and flowers often
combined with flowing stems and leaves, were among the popular motifs.
There were other Nature themes too. For example, the Indian brocade the
“chand-tara or the moon and stars” is covered all over with these motifs.
Like the Indian muslins, Kin-khabs are known by names of poetic fancy,
'Ripples of silver' (Mazchar), 'Sunshine and Shade' (DhupChaun),
'Nightingale's eyes and Pigeon's eyes' (Bulbul-chasm and Halimtarakshi) and
Peacock's neck' (Murgala). One of the important factors determining the use
of raw materials is their availability and cost. For example, the silk yarn
‘Kalabuttu’, or its alternative, rayon. In modern times industry captured the
market using rayon, a chemical fibre, as silk yarn - kalabattu is
comparatively costly. 1. Alfi: It is pattern zari brocade used as dress
material. The gold or silver zari 'butis' are outlined with single or double
coloured thread and it is called 'Meenakari'. It is a specialty of Banaras.
1. In Alfi, only the outline of the pattern is made with colored thread. The
inner work is always either in silver or in gold thread.
2. Tashi: It is a variety of kinkhab in which the ground is worked with an
extra warp of gold badla zari to create a pattern with an extra weft of silver
badla zari or vice versa. Tashi was probably the ancient golden cloth made
in India, China or Tibet.
3. Pot Than or Bafta: They are also known as Katan brocades. In this, the
silk background is patterned with silk pattern or zari. The material is lighter
and is used to make saris and garments.
4. Himru or Amru: These are woven like kinkhwabs, but without the use of
kalabattu (see below in raw materials). The pattern is woven using silk
thread on silk.
5. Mashru: This is a mixed fabric with a woven striped or zigzag pattern.
The warp and weft used are of two different materials like silk and cotton,
wool and cotton etc and became popular among Muslims who were not
allowed to wear pure silk.
6. Tissue: A thin transparent lightweight material used mainly for turbans,
veils, dupattas and saris. Tissue or tarbana is made of single silk warp and
single gold weft.
7. Kora Silk: The warp and weft of this material is made of pure raw silk
with designs made with extra cotton weft. It is used as dress material and
saris.
To summarize: • Banaras brocades have a rich tradition dating back several
centuries. • Brocades are of two main types -pure silk and zari brocades •
Raw Silk of several types is the most important raw material in brocade
weaving. It must be treated before it is used for weaving of brocades. • Zari
is the gold/silver thread used in brocades . • Kinkhab is the most well-known
brocade fabric and is of four main types. Fabric types Kinkhab can be of
four types: 1. Cloth with pure gold or of silver. 2. Brocade in which the gold
or silver thread plays the most important part, with coloured silks
interwoven here and there to emphasize the design. 3. Bafta are mostly of
closed woven colour silks, with only selected parts of the design in gold or
silver thread. 4. Very light brocades of silk, muslins with very little metallic
thread, or with golden borders and end pieces sewn on them. Well known
varieties of Brocade.
II. CHANDERI SAREE
Dating back to 5,000 years hand weaving remains today one of the liveliest textile arts.
Weaving is not merely the interlacement of the warp and the weft; it’s a means of
creative expression which allows an imaginative person to re-captivate the trills of
creativity that the primitive weaver once knew.
The making of fabric or weaving is an age-old art of India which gives practical service
and immense pleasure to both hand and eye. In India perhaps no village remains which
does not have its own colony of caste weavers, each member sitting beside a simple loom
weaving out the traditional beauty of India’s heritage.
India has one of richest traditions of woven textiles which are made from different
materials using a variety of techniques and processes. Each region within India has its
own distinctive style, techniques of weaving designs which have been influenced not
only by geographical, social and cultural traditions but also through migration of other
groups coming to India by land & from all over the world.
Indian textiles have today a world market and specially its designs. Perhaps no other
country in the world could give so many variations of woven designs in textile than India
in any part of world history.
It has been rightly said that the history of female costume in India is the story of the choli
and sari. As Mrs. Kamala dongerkery has pointed out, “The five or six yard sari with a
choli has set in common style of dress in India today. At the end of thousands of years of
history, it promises to remain as the most suitable, graceful and convincing style for this
country.
Likewise, Madhya Pradesh can boast of its dainty CHANDERI SAREES. It is said that
no one was allowed to enter the court of Gwalior without a CHANDERI fabric. HANDERI
SAREES are elegant, soft and gauzy in cotton or in combination of cotton with silk having
a gold or silver border and motifs. Chanderies are brilliant to look at, the colour
harmonies are invariably soft, suitable and reposeful with only a muted whisper of
frivolity, gaiety glamour and romance.

Chanderies are “A mixed fabric with silk as warps and cotton as weft, woven in multi
weft technique”

The district of Chanderi is Guna, a beautiful and developing city. Chanderi was a state of
Gwalior kings, The Scindias 225 km away from Gwalior. From the economic point of
view Chanderi is a weaver's town, positively transformed with the appropriate
government intervention. There are around 5000 weavers weaving this lovely work of
art creating design, vivid colors and exquisite work.

(1) DESIGNING:- The designs are first painted on a plain sheet of paper in required
colors, which are then transformed on graph papers. These graph papers are called
NAKSHA or TALIM. There are master weavers who suggest the design according to
their likes and dislikes and those suggested by the customers.

(2) PURCHASING OF YARNS:- The count of cotton yarns for Chanderi Sarees was
100s-120s. The silk was of denier 20/22. The businessmen and the co-operative society at
Chanderi purchased cotton from Madras, Bombay and Ahmedabad and sometimes from
Madurai. The silk yarn was purchased from Kashmir and Bangalore. The co-operative
society imported silk from China, Japan, Brazil, and Korea.The zari earlier used was of
pure gold and silver purchased from Agra, but now it is rarely ever used. The tested zari
of best variety from Surat is used by weavers.

Warp length of 12 sarees is purchased and weft of 2 to 3 sarees at a time.

(3) DYEING OF YARNS:- Dyes at Chanderi were procured from Bombay, Delhi, Atul
and Bulsar. Yarns were at co-operative society.These dyed yarns were used for weaving.
Sarees were woven by adjusting the dyed yarn for the design in the sarees. To produce
checks or stripers Vat dyes, Naphthol dyes and Acid dyes are used at Chanderi.

(4) SIZING OF YARN:- Koli kanda is used for sizing is powdered, and a paste is made
with soft water to this a calculated quantity of water is added and the required
consistency is obtained by heating and stirring constantly with a bamboo stick. The dyed
yarns both silk and cotton were stretched on bamboo sticks and the size was applied with
brushes Two or Three layers were applied and then it was allowed to dry in the Sun.

(5) THE WEAVING PROCESS:- The weavers of chanderi are of Shilpi castes who take
pride to inherit their profession. For weaving the cotton is used as the weft yarn or the,
Bana and silk is used for the warp yarns or the, “TANA”, so fine is the silk that the
weaver has to place Trays filled with water underneath the weft in order to make out the
gossamer strand. Often silk and gold is mixed in the body of the sarees. The border
however is usually made up of gold thread.The yarns that are undergummed or gummed
silk are wet while warping. This increases the fineness of the yarns and the resultant
sarees are more gauzy in appearance. The looms used are the fly shuttle pit loom, the 3
shuttle nal pherva technique which requires two weavers on the loom. The technique is
very old and has given way to the most common throw shuttle pit loom.The entire sarees
are woven in plain weave.

(6) THE FINISHING PROCESS:-The Chanderi sarees are given a calendering process
for finishing with a kundi, beating down over a wood block with mallet which makes the
warp and weft more compact and gives surface characteristics shine.

DIFFERENT TYPES OF CHANDERIES

The length of the sarees is 5(1/2) mt long and its width is about 48”-50”. There is no
Peculiarity regarding the field of the sarees which is usually in plain weave except in
some cases there are woven checks called ‘MASOOR’ which resembles the checks found
in kota sarees. The different types of sarees produced at chanderi are.

ASAVALI:- For more than 100 years chanderi has been famous for its production of
extremely fine cotton and gold sarees known as “Asavalis”. In their sarees delicate gold
ornaments enameled in soft muted tones are woven into the pallav, border and body of
the sarees. The design forms are linear and bear close resemblance to the marble jeweled
inlay work found in the Mughal architecture.
DOUBLE CHASHMEE: - This is entirely a thing of the past. The sarees in this collection
had borders of different colors as in ganga-Jamna or in golden entirely. This sarees with
cotton body and with satin silk woven borders has been described by sir George wattin
1903, “we are told that such sarees are sold in Baroda to a trader Shri Manibhai whose
shop on Mandvi Road for chanderi sarees, but today such sarees are impossible to
weaver. We presume these sarees were woven by Muslim weavers.”

PLAIN POT: - This is the cheapest sarees woven at chanderi as it does not have any
motif or design or even a border.

PATAL: - This is bridal sarees which is 54 widths which only allowed it to trail on the
ground and permitted a long “ghughat” orveil over the face.

JAMDANI: - It has an all over effect and therefore the most costly of all Chanderis
costing about rs 4000/- to rs 5000/-

GOLPATTI: - It has a very narrow golden board.

DANDIDAAR: - It has golden pillars in the pallav.

NAL PHORVA:- It has intricate woven borders woven basically on silk background and
attached to the body of the sarees with a slight woven extension.

KATHAN: -This saree differs from rest as in this the one series of yarn is highly twisted
silk yarn which gives a fluffiness to the complex sarees the other series of yarn is of
normal twist silk yarn.

The maharastrian women who patronized this art form had a 9 yard sarees specially made
for them.

THE MOTIFS OF THE CHANDERI SAREES:-There are wide ranges of motifs that are
used in chanderi sarees.

They have been inspired mostly from nature .ie the garden and jungles, around Chanderi.
Also they are inspired by the economics such as Asharfi (Gold Coins) motifs. They also
relate themselves to ghunghru (anklets).

Mortify Used are:-

1. ASHARFI MEANING GOLD WIN

2. BUNDAKI MEANING DOT

3. KERI MEANING MANGO

4. CHIDI
5. GHUNGRU MEANING ANKLETS

6. PHOOLBUTTA-FLOWER

7. PHOOL PATTI-FLOWER WITH LEAVES

8. ZHAAD-TREE

9. AKHROT-WALNUT
Sometimes rarely geometrical motifs are also seen in chanderi sarees. Their motifs are
used on the borders, pallav and field of the sarees. Plain borders are also woven with
varying colors and breadth called “KINARS”

KINARS IN CHANDERI SAREES:-

VARIOUS KINDS FOUND ARE

Pipin kinar

Phool kinar

Jari pipin

Pankinar

Nal pherva kinar

COLOURS USED IN CHANDERI SAREES:-

Mostly pastel colors are used pastel pink, sky, blue, off white and peach were used
traditionally.

Colors have got inspiration from nature besides many colors are also used such as.
LOCAL NAME:=

1. KESARI :- SAFFRON

2. BADAMI :- ALMOND WITH A TINT OF SAFFRON

3. ANGOORI :- PALE GRAPE GREEN

4. MORGADANI :- BLUE GREEN OF THE PEACOCK

5. TOTAI :- PARROT GREEN

6. MEHANDI :- HEENA GREEN (RELENT)

7. CHUTNI :- SAP GREEN (RECENT)

8. ANANDI :- TURQUOISE

9. RANI :- INDIAN PINK

10. PHALSA :- REDDISH MAUVE

11. KATHAI :- PURPLISH BROWN

BLOCK PRINTED CHANDERI SAREES:-

The plain pot sarees woven at chanderi in bright colors are then block printed by hand to
create surface designs. The Motifs are stylized geometric, floral and flowering tree
Motifs, Animal motifs, stylized mango motifs are popular. Popular motifs like flowering
trees with birds, Elephant in folk style are common.

This block printing is not done in Chanderi but in nearby places, not only promoting
employment, but also providing to the customer a slightly less expensive Chanderi
Sarees.

DEMAND OF THE SAREES:-

The main market of chanderi sarees is Madhya Pradesh. Next to Madhya Pradesh another
major market is West Bengal mainly Calcutta. Off white and dark colored chanderi sarees
are preferred in Bengal. Chanderi sarees are more in demand by the rich Marwari women.
These sarees are sold in the Bombay market too. Sindhiyas ordered sarees of very
superior quality having exclusive and intricate design.

Chanderi sarees are more expensive than Maheshwari sarees because in Chanderi sarees
design are produced by extra weft whereas in Maheshwari sarees, design is produced by
extra warp.

CHANDERI SAREES-PRESENT STATUS:-

Government today has taken measures to revive this traditional art form by forming co-
operatives and providing raw material to the weavers at a cheaper rate. The government
has also given looms to the weavers at very low interests.The machinery looms etc.
required for the weaving are constructed at optimum prices in Nagpur and supplied to the
weavers through the co-operatives.It is basically for these reasons that Chanderi sarees
industry is alive. Many popular celebrities and e-commercial websites are now trying to
Romanticize and sell this ageless beauty.

Signing Off:-
Chanderi silk is a very versatile fabric and can be easily adapted to create new and trendy
looks for fashion enthusiasts around the world. INIFD Gurukul Ahmedabad - Fashion
Design Institute offers a certification course in Fashion Designing for aspiring students
who wish to enter into the Fashion Design industry. Its dedication to the advancement of
a fashion tenet has been recognized and appraised by professionals, press, and people.

The Fashion Design Certification course at INIFD Gurukul Ahmedabad has a unique
curriculum that furnishes a student with all the knowledge needed to create a remarkable
name in today’s fashion industry. After completing these Fashion Design programs you
have a wide range of fashion designer career paths opened up in the Fashion Design
industry. ntroduction

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A few kilometers from Bhubaneswar, the capital of Orissa. One of the most popular craft
of Orissa is the Pipli applique technique work that comes from the town of Pipli. Pipli is
small town, situated about 40kilometers from Puri, Orissa. In the old days, Pipli
craftsmen used to make canopies, banners, umbrellas and trasa (fans) for festivals held in
Puri's famous temple. But as the craft's popularity spread far and wide through the
pilgrims of Puri, the craftsmen started making other decorative and utility items also. The
use of all these products are associated with the religious ceremonies of Lord Jagannath.
So it can be concluded that this art form ascribes its origin to the Jagannath cult.
Patronized by kings and nobility of Orissa, applique work at one time had reached the
artistic heights of excellence.

The kings of Puri engaged craftsmen in the service of Lord Jagannath and set up village
Pipli for them to live in. They were especially skilled in designing the canvas cloth that is
used to cover the chariots of Lord Jaganath, Lord Balabhadra and Devi Subhadra. The
income of this state is mainly depended on the sale of its handicrafts.

Applique is a French technique that basically cuts up various coloured fabrics which are
then sewn to the surface of another foundation fabric. But essentially it has now
developed into a needlework technique in which smaller pieces of fabric materials like
small mirrors and other forms of embroidery are sewn onto a bigger piece of the cloth to
create.

Appliqué is art, a process of cutting coloured cloth into shapes of animals, birds, flowers
leaves gods, goddesses and other decorative motifs and stitching them on a piece of cloth.
On one hand, the village showcases the intense involvement of the men, and especially
the women, in the applique production. Machine stitching has also caught up with the
artisans of this town which is a proud achievement for these workers. But the people of
this town are mostly proud of their handcrafted achievements because that is the purest
way of keeping their art heritage alive.
The traditional appliqué items are mainly used during processions of the deities in their
various ritual outings. Items like umbrella, Tarrasa – a heart-shaped wooden piece
covered by appliqué cloth and supported by a long wooden pole and Chandua – an
umbrella shaped canopy are usually seen during the processions. Another popular item is
a sort of frill which is used as a border to canopies and also independently as a decorative
piece.

In modern pipli applique work motifs used consist of stylized representations of flora and
fauna as well as a few mythical figures. Of the more common of these motifs are the
elephant, parrot, peacock, ducks, creepers, trees, flowers like lotus, jasmine, half-moon,
the Sun and Rahu (a mythical demon who devours the sun).

Flat design are first cut from cloth and then superposed on the base cloth in a
predetermined layout and sequence. The edges of the motifs are turned in and skillfully
stitched onto the base cloth or stitched by embroidery or without turning as necessary.
Craftsmen use straight stitch, blind stitch, satin stitch or buttonhole stitch for attaching
the pieces of cloth.

Artisan sulochana who is 75 years old is involved in Pipli applique work from her
childhood and she is currently working under Pipli applique society. There are 55 people
who are working under the Pipli applique society. Embroidery work is mostly done by
women and cutting works by men. These applique work are used in the flags of
Jagannath temple, and during the rathjathra festival. Sometimes orders will be given by
the companies to make a pipli applique work with their logo.

She works on both hand and machine. They earn more profit in machine work. Whereas
the hand embroidery work are more time consuming and less profit. All the materials
required for the embroidery work such as needle, threads, mirrors etc will be provided to
craftsman by the organization by whom they get regular embroidery works. These pipli
applique work is done on the different types of fabrics such as cotton, velvet, organdy
and satin.
II ) JAMDANIS AND BALUCHARS - BENGAL JAMDANI Popularly known as
Dhakai Jamdani or simply Dhakai, this art of textile weaving has its roots in Dhaka,
Bangladesh. Considered to be one of finest variety of muslin that is handwoven from
cotton, thfrom the word “jam” meaning flower and “dani” meaning vase. The name is
suggestive of the beautiful floral motifs on these sarees.
Origin and history: The name Jamdani is of Persian origin and is strongly suggestive of
Mughal influence. It is a compound word wherein “jam” means flower and “dani” means
vase. The name is suggestive of the beautiful floral motifs that adorn these gorgeous
sarees. The Bengali version of the name, Dhakai, comes from the place of its origin —
Dhaka in Bangladesh. Interestingly, the earliest mention of Jamdani sarees can be found
in Chanakya’s Arthashastra, dating back to the 3rd century BC! The book refers to it as
some fine cloth from “Bangla” and “Pundra” region. Significant mentions of Jamdani can
also be found in the book of Periplus of the Erythraean Sea, besides the accounts of Arab,
Chinese and Italian travellers and traders. In the first half of the 19th century, James
Taylor described the flowered Jamdani. The late 19th century saw the Anglicization of
rooted Indian concepts and consequently, TN Mukharji referred to this fabric as Jamdani
muslin. Though Jamdani has enjoyed immense popularity right from the beginning, the
art for-m bloomed during the Mughal period. However, colonisation by the British saw a
decline in the production of this fabric. Export of cheaper yarn from European countries
in the 19th century was one of the primary reasons for the decline of Jamdani. Also, with
the decline of Mughal rule in India, producers of Jamdani were deprived of their most
influential patrons. Villages like Madhurapur and Jangalbadi, once famous for the
intricate Jamdani industry, faded into oblivion. Post the partition, many weavers migrated
to present day West Bengal, and that marked the beginning of the art form in India.
Weaving process The base fabric for Jamdani is unbleached cotton yarn and the design is
woven using bleached e art flourished under the Mughal patronage. Jamdani, is of
Persian origin and comes
Traditional costumes of North India

In the Indian states of Punjab, Jammu and Kashmir, Himachal

Pradesh and Haryana and Gujarat, traditional dress is ‘Salwar Kameez’. In the states
of Rajasthan, Uttar Pradesh, Bihar and southern Haryana and Gujarat, it is ‘Ghagra
Choli’. Pagri is worn in various region styles and is symbol which shows one’s status and
the respect in which one is held. In urban centres and as well as rural areas western
influence can easily be seen nowadays.

Women in North India traditionally wear Salwar Kameez, Ghagra Choli, Saree and
Phiran. Dupatta is worn to complete the outfit. Men traditionally wear Kurta, Achkan,
Kameez and Sherwani for upper garment, lower garment includes Dhoti, Churidar,
Salwar and Lungi. Pagri is usually worn around head to complete the outfit, especially in
rural areas.

Phulkari, Salwar Kameez

Phulkari is a popular Indian form of embroidery where there is flower work embroidery
in multiple colours. It is the rural traditional Punjabi dress for women of this region. It is
a custom in Punjab to make a Phulkari known as “bagh” (garden) on every ceremonial
purpose. It is made in such a way that the entire cloth is covered with embroidery that the
base cloth cannot be seen at all. The salwar kameez is the most common Punjabi dress for
women. A dupatta or a churni about 2.5 metres long generally completes the ensemble.
It’s a matter of pride for every Punjabi women to have a good collection of Woollen
Shawls.
Haryana Damaan, Kurti and Chunder
Like Punjab, the costumes of Haryana are also very vibrant and colourful.
The simplicity of the people of Haryana and their spirited enthusiasm for life
is visible in their way of dressing up. The basic traditional dress of Haryani
women is the Damaan, Kurti and Chunder. The Damaan is the ankle length,
flairy long skirt, available in bright colours. Kurti is a waist length shirt or
blouse, usually in light colours. Chunder is actually the long, coloured piece
of cloth like the churni. The highlight of the Chunder is usually the shiny
laces all among the border and is used to cover the head and is drawn in the
front like the ‘pallu’ of a saree.

Jammu and Kashmir Phiran

The most popular attire of women in Jammu and Kashmir is the Phiran.
Kashmiri Phiran is long, loose gowns that cover the physique of the women.
These gowns are decorated with colourful floral motifs and designs.
Whereas a Muslim woman wears a Phiran that is knee-length, loose and
embroidered in front and on the ends, a Hindu woman wear their Phirans
long, stretching up to their feet with narrowed down sleeves. Phirans are tied
at the waist with folded material called ‘Lhungi’. Hindu women wear a
"Taranga", a headdress, stitched to a suspended cap and it narrows down at
the back, towards the heels. On the other hand, Muslim Kashmiri women
wear a red headgear known as the "Kasaba". The kasaba is stitched in the
form of a turban and is pinned together by brooches. A pin-scarf suspended
from the kasaba descends towards the shoulder. Elaborate embroideries or
floral patterns are a prominent feature of a Kashmiri woman's Phiran.
Rajasthani Ghaghra Choli
The traditional dress of a Rajasthani woman is the Ghagra-Choli and
Odhani. It is said that the width and the number of pleats in the "Ghagra" or
the long ankle length skirt symbolize one’s prosperity. The dress is available
in many colours and styles. Rajasthan is famous for tie and dye prints or
Bandhani prints. The traditional dresses of Rajasthani women display a
colourful look with their colourful motifs and prints in tie dye. Rajasthan
traditional dresses of women are vibrant and extremely well-suited to the
climatic conditions of the desert region. Though the modern influence and
urbanization is also reflected in the changing attire of the state, the
traditional dress continues to exist in perfect harmony with modern ways of
dressing.
Traditional Himachal Pradesh Dresses
The beautiful state of Himachal Pradesh nestled amidst the Great Himalayan
ranges is rich in culture, tradition and away from the western glitterati. The
culture of Himachal Pradesh is largely reflected in the people like diverse
tribes, cuisine, occupations, and their traditional dressing. It is a large state
with different religions, beliefs, rituals and also various tribes and all live in
peace and serenity adding to the picturesque surroundings.

The traditional dress of the Himachali people also reflects their culture. They
like their ethnic dressing and dress in traditional costumes as they safeguard
and honour their diversity. The natives are known as Pahari people. Partly
the dressing also makes even the climatic conditions of the harsh winters
which is another reason to influence the traditional attire of Himachal
Pradesh. It includes a headgear, tops, trousers, and even the footwear are
mostly woven by hand. The vibrant and colorful handloom fabric is now the
culture identity of the state.

Traditional Dress for Men in Himachal Pradesh

The Himachali people are widely divided into two ancient classes –
Brahmins and Rajputs. Only a local or traditional people can spot the
difference at once as there is very little difference in the way they dress as
they are almost identical.

Rajputs:
Men wear a long Kurta over Chudidar Pyjamas that hold the ankles tight.
They drape a lengthy silky overcoat over it. As Yak is very common in the
region even the clothing is made from Yak leather. So, these overcoats are
designed by golden threads and embroidery over yak leather. It helps to keep
them warm in the harsh weather. They cover their heads with a turban which
is a long cloth tied over the head. These are vibrant and colorful and
generally starched to keep it stiff. Rajput men wear their turbans and also
grow their mustache long as a sign of pride.

Brahmins:
Men wear long Kurta over a dhoti. They also wear a lengthy overcoat or
waistcoat and tie a turban on their head to cover their head. The Brahmin
priests wear mostly white colored dresses and also have a soft cloth like a
towel over their shoulders. However, for special festivals or ceremonies,
they wear new clothes including the Kurta, pajama, stiff caps, or turbans and
wrap an exquisite shawl around themselves as part of dress.

Traditional Dress for Women in Himachal Pradesh

The women of the two major castes of Himachal Pradesh wear something
similar and their dress is also identical. Hence, it is hardly differentiable
except for a few variations. Traditionally a purdah system prevailed in the
region but now that is no longer followed in the state.

Rajputs:
The women wear long dresses from their neck to their feet. It is in the shape
of a Kurta and they wear it over a skirt like dress or a loose salwar. They
wear also Ghagris and Cholis called shirts or blouse. The other dresses they
wear is the traditional Salwar – Kameez. They wear a lot of bangles to
accessorize their dressing. They also wear a long cloth over their head to
cover the head which knotted up to stay in place on the head. They wear
footwear that is made from leather or Yak skin and also specific grass. It is
said to protect feet from cold and keep the feet warm.

Brahmins:
They also wear Ghagra and Cholis called shirts or blouse over a long loose
skirt type trousers and the traditional Salwar – Kameez with a dupatta,
meaning a long cloth to wear over the dress and head. They wear special
materials for the special celebrations or festivals that have intricate work
including embroidery on handwoven cloth. They also wear jewelery like
bangles and rings on nose, fingers, toes, neck, etc.

Traditional Dress for Tribals in Himachal Pradesh

The state of Himachal Pradesh is spread across a large region and so many
different tribes live here. It includes the top tourist destinations in India.
regions such as Manali, Spiti Valley, Lahaul and Kinnaur. Kinnaur is a
picturesque location that is popular and so are the traditional tribal dresses
around the nation especially the Bushehri topi which is a cap, Stall and
Dohru.

Tribal Women:
The tribal women can be seen decked up in bulky silver jewelery and
ornaments even on dress and mostly this is a casual attire for them. They
wear bright and shiny dresses and ornaments to functions and various events
or gatherings. The tribes of Lahaul – Spiti also dress in a similar way –
heavy ornaments with bold colors. They also cover the head with an
attractive big cloth called ‘Thipu’ / Patoo’ or Dhatu.

Tribal Men:
The tribal men can be seen wearing Chola meaning a shirt type of top for the
upper part of the body over a Sultan as trousers. They tie it up with a fat belt
called ‘Dora’ . These belts are made with special handwoven and are various
sizes and made attractive. These handwoven handlooms are popular all over
the state and even the country.

The tribals ethnic costumes are similar to the Rajputs & Brahmins of
Himachal Pradesh. Some of the famous tribes of Himachal Pradesh include
the Pangawalas, Kinnaurs, Gaddis, and Gujjars among many others.

Traditional Jewelery of Himachal Pradesh

Ornaments and jewelry is part of the dressing of the Himachali people
especially women and are worn by all Himachali women including the
tribals, Rajputs, and Brahmins.

Here are the most famous ornaments of women of Himachal Pradesh:

Chaakk – A Silver ornament that they wear on the top of their head.
Chiiri – This is a piece of jewelery that is similar to maangtika.
Jhumka – A type of earrings that is popular jewelery across the state.
Chanderhar – A type of necklace or a pendant that is put on for special
occasions.
Toke – A Band that is worn around the wrist that is never or very rarely
removed.
Pari – An accessory that is worn around the foot ankle like a small foot
necklace.
Other Traditional Clothing Items of Himachal Pradesh
It is cultural to wear a specific turban / cap for men and a shawl / cloth for
women over their head for the people in Himachal Pradesh. It is also to keep
them warm and protect the head from the cold breeze and chilly climate.

Here are the two main clothing accesories of Himachal Pradesh.

1. Pashmina Shawl – This particular shawl is availabel in many parts of

North India including Himachal Pradesh. It is made from the goat hair of
Pashmina goat and are very expensive shawls that are in great demand.
People buy them as exquisite items especially for special occassions to cover
from cold winter nights.

There is intricate embroidary that makes them even more attractive and it
makes it even more expensive due to thisi work. Sometimes, very soft
exquisite silk is mixed to this for a smoother, soft, and shiny finish. Due to
its make it is on the higher price side.

2. Caps / Topis / Shaws of Kullu – This is one of the msot attractive caps
found in Kullu regions of Himachal Pradesh. They are the authentic
traditional caps and now they are also sold to several destinations and
tourists. They are somewhat circular in shape, thick or stiff, and is designed
to look attractive especially on the front of the cap. They are made from
various materials such as woolen for winters and cottons for summers. The
velvet material caps are worn for special occassions. They are called Kullu
topi and found in the region near River Beas called Kullu.

You can also find shawls and woolens that are made in various colors and
designs such as animal or plant designs that are woven on to a lighter base
shade that is generally grey, white, off – white or pale yellow. These shawls
are made from fur of different animals – lamb, yak, or pashmina and Angora
fibers. The costs differ as per the specific wool availability.

Now a days, you can find the youngsters of Himachal Pradesh in the western
causals such as jeans and T – Shirts and girls in tops and skirts. They wear
ethnic dressing especially during festivals, ceremonies, gatherings and
special occassions. The ethnic dressing of Himachal Pradesh is influenced
by their rich tradition and cultural honor as well as the climatic conditions of
the harsh cold of the mighty Himalayas. Mroeover, the handwoven garments
and handlooms are also a major business among the Himachali people and
they also export some to various parts of the world.
 Unit 4
Southern traditional textiles. Traditional woven textiles of Southern states of India –
Paithani and Pitamber, Pochampalli, Kancheevaram, Kalamkari, Mysore silk,
Aarni Silk. Traditional costumes of Southern states of India – Tamil Nadu, Kerala,
Karnataka and Andhra Pradesh.

Paithani and Pitamber

Paithani Saris region: Paithani saris are woven in Paithan and yevla villages of
aurangabad in Maharashtra. Paithani saris are heavy silk saris which are preferred for
wedding trousseau and festive wear. technique: The intricate motifs are woven by
interlock twill tapestry weaving technique on traditional handlooms. aithani is one of the
most beautiful sarees in the world. Every women dreams of having at least one Paithani
saree. No Maharashtrian wedding is complete without Paithani. Paithani resembles the
rich Maharashtrian culture and tradition because it was once wore only by the royals.
However, with passage of time Paithani has lost its charm. A real Paithani is hand woven
and made of very fine silk, making it one of the riches sarees in India. But, now-a-days
one can easily find many fake or duplicate Paithani sarees in market available at a very
low cost. These sarees appear exactly like a real Paithani saree making it difficult for the
customer to identify its genuinity.

motifs: Bright jewel tones such as emerald green, ruby red- and yellow-coloured silk
yarns were used, however midnight blue-coloured saris were most preferred. The
interlocking technique created geometric angular forms out of patterns which were floral,
paisleys, parrots, peacocks and lotus flowers. The pallu used to have a broad band of zari.
at present the pallu band is ornamented with lotuses and peacocks woven in very bright
colours. another motif seen on Paithani saris is the bird (munia) motif (Pic. 5.5). Paithani
is coveted in India as a precious heirloom passing on from generation to generation.
Exquisite silk from Paithani was exported to many countries and was traded in return for
gold and precious stones.
The art of making Paithani is more than 2000 years old and dates back to Satvahana
Dynastry. It is said that paithani has its roots in the city called Pratishtan now known as
Paithan (which falls in Marathwada about 50 km from Aurangabad). At that time, the city
of Pratishtan was a trade center for silk & zari (gold yarn) & even exported cottons &
silks to the Roman Empire. This is how Paithani got its name from the city.

Around 17th Century Mughal emperor Aurangzeb also encourages & patronized the art
of weaving Paithani sari. The ‘Aurangzebi’ designs were specially developed for him.
These designs are even famous today. After Mughals, the Great Madhavrao Peshwe
carried forward the tradition of encouraged this art. Madhavrao Peshwe, had special
motifs & color combinations designed exclusively for himself. Other Under the Peshwa
patronage, a small town of Yeola, near Nashik, became as important as Paithan. It was
the Peshwas who encourages a feeling of pride in Paithani among Maharashtrians.

The paithani sari is known all over the world over for its uniqueness. Paithani is a hand
woven silk sari with a rich, ornamental Zari (gold thread) pallav and border. What really
sets the Paithani apart is its unique weaving technique. The entire process, from dyeing of
the yarn to weaving, is done by hand. Hand looms are used to weave the main
body of the sari. The weaving process of the Pallav & borders is similar to the
tapestry weaving technique (one of the most ancient weaving techniques in the
world). And because of this specialness of the sari, the silk that is used is
extremely fine & delicate. The process of creating designs & motifs is also
unusual. The motifs are created by interlocking & tying the colored threads to
the warp (lengthwise threads) on the loom. In fact, the reverse side of the
design is almost identical to the top side. These patterns literally seem as if they
have been inlaid into the main fabric.

. Classification by motif:
 Bangadi Mor – Bangadi means bangle and mor means peacock.
So bangadi mor means a peacock in a bangle or in a bangle shape. The
motif is woven onto the pallu, the design sometimes having a single
dancing peacock.
 Munia brocade – Munia means parrot. Parrots are woven on the pallu as
well as in border. Parrots are always in leaf green colour. The parrots in silk
are also called tota-maina.
 Lotus brocade – Lotus motifs are used in pallu and sometimes on the
border.
 Tissue Border – This is a traditional form of Paithani. Paithanis having
tissue border have different designs on Pallu like peacock, lotus, parrots etc.
 Balgandharva Paithani – This Paithani has meenakari butti all over the
saree.
B. Classification by weaving:
 Kadiyal Paithani – Kadiyal means interlocking. The warp and the weft of
the border are of the same colour while the body has different colors for
warp and weft.
 Kad/Ekdhoti – A single shuttle is used for weaving of weft. The color of
the warp yarn is different from that of the weft yarn. It has a narali border
and simple buttis like paisa (coin), watana (peas), etc.
C. Classification by colour:
Kalichandrakala (pure black sari with red border), Raghu (parrot green coloured sari),
Shirodak (pure white sari)

D. Other methods of Classification

 Tissue border Paithani – This is Paithani with traditional tissue border.
 Brocket Paithani – These are Paithani with Brocket. The cost of Paithani
increases the size of brocket increases.

Pochampalli
Pochampally or Pochampalli Silk is a type of silk originating from the town of Boodhan
Pochampally, located in Nalgonda district of Andhra Pradesh, India. The town is
popularly known as the silk city of India. Pochampalli Silk sarees are culturally popular
for the Ikat styling and designs imprinted on this fabric. These Ikat patterns are
intrinsically woven onto the fabric in geometrical designs ensuring that the entire look
spreads a mesmerizing essence to the wearer as well as to the onlooker. In the early 20th
century, the telia rumal weavers introduced the ikat technique to the Devang and
Padmasali weavers of Pochampalli, a village near Hyderabad. as the popularity for
Pochampalli ikats grew over a period of time, ikat weaving spread to many other villages
like Koyalagudam, Puttapakka, Chautupal and elanki

Origin and History

This aesthetic artwork traces its origin to the 18th century, the era which witnessed the
mystic beauty of this fabric emerging out of the Pochampally town. This town had 80
villages under its wing, which initiated this artwork with traditional looms. However, in
the 1970s the panel of headmen of Pochampally decided to blend the essence of cotton
and silk together by weaving them together to upscale their living conditions. This
weaving journey took the skilled weavers of the Pochampally town to Bangalore, and
thus marked the beginning of this popular artwork, which floored millions across the
world.

Pochampalli silk is all about getting the intricate motifs and designs imprinted onto the
fabric through the smoothest and finest thread-work of cotton and silk. The geometrically
patterned designs are colored onto the weft and warp threads and are artistically woven
into the Pochampalli fabric. The essence of the fabric consists of a unique concoction of
sico, silk and cotton. Natural elements and sources are taken into the manufacturing
process of these saris. The Pochampalli weavers applied the technique of ikat weaving to
saris, dupattas and yardage. Initially the ikat designs were copied from the Patolas of
gujarat, but later on the weavers developed geometric motifs of their own, mainly
inspired from the telia rumal. The weavers are also influenced by the Japanese and
Indonesian ikats. The Pochampalli ikats can be found in a range of colours including
magenta, brown, parrot green, bright golden yellow, orange, off-white, black etc
Pochampally Ikat has the designs that are reminiscent to the diamond or Chowka
(diamond within a square) design, woven in pairs of specified length and is characterized
by its bold, diffused and geometrical motifs in red, black and white colors, offset by wide
single-colored borders. The diffused edges of the said designs evolved using special skills
in the visualization of design are again unique to Pochampally Ikat. Along with the
traditional diamond motifs, parrot, elephant, and flower motifs are also used. The 3 forms
of Pochampally Ikat are ...

Single Ikat, where either warp or weft threads are tied and dyed prior to weaving
Combined Ikat, where warp and weft ikat may co-exist in different parts of the fabric
occasionally overlapping

Double Ikat, which is by far the most complex form. Here both warp and weft threads are
tied and dyed with such precision, that when woven threads form both axes, mesh exactly
at certain points to form a complete motif or pattern.

Kancheevaram,
Kanchipuram (also spelled as Conjeevaram, Kanjeevarum, Kanjiwaram, Kanjivaram) is
traditionally woven silk from the village called Kanchipuram in Tamil Nadu, India. For
years now, Kanchipuram silk sarees have dominated the world of South Indian sarees.
Synonymous with the sarees of South India, these are the mark of culture for every south
Indian wedding, ceremony or occasion. The shine and durability of the fabric have made
these Sarees popular attire among women across the globe. The rich quality combined
with an amazing finish make them last longer. Synonymous with the sarees of South
India, these are the mark of culture for every south Indian wedding, ceremony or
occasion. The shine and durability of the fabric have made these Sarees popular attire
among women across the globe. The rich quality combined with an amazing finish make
them last longer.

Origin & History

A famous king of the Chola dynasty ruled Kanchipuram between the years 985 and 1014,
who took an initiative of silk trade. It was during the reign of Krishna-Deva Raya, when
the famous weaving communities of Andhra Pradesh, the Devangas and Saligars,
migrated to Kanchipuram. Thus, occurred the historical migration of the entire silk
industry in the 15th century, to this city. The two weaving communities were exclusively
acknowledged for their skills at weaving silk. The weaving industry was temporarily
halted during the French invasion in the 17th century. It rejuvenated and revamped its
style in the 18th century. Today, it ranks among the most popular silks in the world. Very
few stand out in the competition against Kanchipuram silks. The British translated the
Kanchipuram silks to Conjeevaram silks, also known as Kanjeevarum silks.
region: Kanjeevaram saris hail from the town of Kanchipuram in Tamil Nadu. It is
considered to be one of the most expensive saris in the world and thus used for all special
occasions. technique: The sari is woven in pure mulberry silk and gold zari on hand
operated pit-looms. The colours most commonly used are mustard, deep green, maroon,
aubergine, etc. The motif imagery is drawn from the nature and forms of temple
architecture. Some examples are peacock, parrot, rosary beads, bird’s eye, kalash,
mythical creatures, temple designs, scenes from ramayana, Mahabharata and Bhagwad
gita etc.
Kalamkari from andhra Pradesh
andhra Pradesh is famous for many of its textile crafts, one of which is Kalamkari, which
means ‘pen-craft’. This style of printing was practiced in coastal deccan and many other
places. Kalamkari, the dye painted and printed exquisite textile symbolically named after
the technique of its making, ‘kalam/qualam’ meaning pen and ‘kari’ meaning art, has
been prevalent in several parts of southern India since ancient times. referred to as
'Chintz' by the english and 'Pintadoes' by the Portuguese, Kalamkari was patronized by
both Mughals and later by the europeans in India.Kalamkari fabrics were believed to
brighten up with each subsequent wash. The specially prepared cotton fabric was hand
drawn with a special pen using mordants as ink. These fabrics were then dyed in natural
dyes.The fabrics printed at Masulipatnam were used as furnishings such as bedspreads,
curtains, table cloths etc apart from apparel. In fact these fabrics were so popular in the
West, that these were banned by France and england, as it was a threat to their domestic
printed fabric industry. These fabrics were also referred to as ‘Palampores’.
region
Srikalahasti, Masulipatnam, Polavaram and Pedana in andhra Pradesh have been the
major centres of this craft tools. The main tool used in Kalamkari is an improvised brush
known as 'kalam'. It is made of bamboo stick which has a pointed edge like a pen. Near
the tip, a ball of wool or felt is tied. Whenever the kalam is dipped in dye, the ball of
wool absorbs the dye which is pressed while drawing. This maintains constant flow of the
dye to the tip for continuous drawing.
dyes: Natural dyes used in Kalamkari are colours extracted from plants, roots, leaves and
similar vegetable matter, combined with minerals like iron, and mordants like alum
which help in fixing the colour on to the fabric. For e.g. Yellow colour is derived from
myrobalan flowers and pomegranate rind, blue colour is derived from indigo and black
from rusted iron fragments.
technique: The first step involves preparation of grey cloth which is achieved by soaking
thecotton fabric in water for an hour and consequent washing so as to remove the starch
which is followed by drying. Next, the fabric is treated with myrobolan solution which
gives the cloth a light-yellow tone. The outlining of the main theme and figures are then
drawn by using ferrous acetate solution prepared by fermenting iron scrap with jaggery.
This solution gives black colour. alum solution is prepared by dissolving alum in water.
This is applied wherever red is desired. Combination of blocks and hand painting using
'kalam', makes Kalamkari fabrics desirable for consumers. The fabric is then dyed with
alizarine. The areas painted with ferrous solution turn jet black and the ones painted with
alum become bright rust red.Blue colour is applied by mixing indigo solution in an
alkaline solution of lime and fuller’s earth. To get green color, indigo or ultramarine blue
is applied on portions which are already painted in yellow color. Style and motifs: The art
of Kalamkari under the patronage of Mughals in Coromandal and golconda provinces
branched out into two schools. Masulipatnam under the golconda province catered to the
Mughal tastes with its Persian influence according to Islamic aesthetics. The prints from
this region were characterized by intricate motifs and forms including the tree of life,
‘mehrab’ pattern, ‘jaals’, creeper and stylized peacocks. decorative borders were depicted
in stylised natural forms with wooden blocks instead of pen. Sometimes pen work was
combined with block printing to design elaborate wall hanging and panels with motifs
such as Tree of life. otherwise, the blocks patterns were influenced by Persian/Mughal
motifs of exotic fruits and flowers, birds and animals, creepers and stylized peacocks etc.
Srikalahasti, ruled by Hindu rulers who gave patronage to the painters, was known for
depicting scenes from ramayana and Mahabharata on large pieces of fabrics which were
used as hangings and canopies in the temples. The scenes were narrative and were
depicted in boxes. underneath each one, a line in Telugu script was painted to describe it.
The forms are folk and more imaginative with restricted usage of repeats. Characteristics
of this style are usage of solid colors without any shading. gods like Krishna, Shiva,
Parvathi, Brahma, ganesha, durga, Lakshmi, Rama are depicted with rounded faces, long
and big expressive eyes and stout figures Women are shown with heavy chins and men
are depicted with long moustaches mostly in side profile.
Colours: Blue, ochre yellow, red and black are the main colours used in Kalamkari.
• Blue is associated with lord Krishna and also other gods.
• yellow is used to show female bodies and also gold ornaments in deeper ochre shade.
• green colour is used to depict lord Hanuman
• red colour depicts demons and bad characters.
end use: The fabrics printed at Masulipatnam are used as furnishings such as bedspreads,
curtains, table cloths etc apart from apparel like kurtas, saris and dupattas

Mysore silk,
Mysore silk sarees originate from the state of Karnataka which happens to be one of the
largest mulberry silk producers in the country. The growth of this silk was brought about
during the reign of Tipu Sultan in 1785 AD. It is a max of fine silk and pure gold zari.
These fabrics were the first known production of machine-made silk sarees in India.
Raw materials used in making the saree are obtained from a single cacoon. Processes like
soaking, twisting, wafting and winding are followed once the density of the silk is
assessed. The weaving process involves two types of looms; Dob by loom and the
Jacquard loom. It takes 4 hours to make one saree. The next step, degumming, which
helps to smoothen the fabric. The saree is then sent to be dyed and wash. Once semi-dried
these sarees are steam ironed and then the saree is cut to the desired length. Each saree is
measured at about 5.5metres. During this stage, the saree is also stamped with a unique
identification code that allows you to always be sure of its authenticity. These threads are
used to produce various silk products among which Mysore silk saree is the most
popular. Since the saree zari contains 65% pure silver and 0.65% of gold, it is also one of
the most expensive silk saree in India.

Aarni Silk.
Arni is a town situated in Thiruvannamalai District in Tamil Nadu. Traditionally, Arni
silk sarees are called as “Dobby variety”.

These sarees are woven with mulberry silk in warp and weft by using dobby. The border
has thin line of Zari and or small designs. These sarees are lighter than Kancheepuram
saree and weigh about 300 - 400 gram. These are woven either with one side border or
both side borders, but without interlocking the body and the border as done in
Kancheepuram saree.These are woven either with single warp or double warp and single
weft or multiply weft. These sarees are used mostly in wedding and other important
functions of the family.

Material used
The materials used for the production of Arni silk sarees are mulberry silk, pure gold zari
or half fine (imitation) zari. The count of warp and weft is 18/20 – 20/22 (2ply) Den
mulberry silk. Nowadays, heavier Arni silk sarees are also being woven using 18/20 –
20/22D (4ply) Den silk in warp and 18/20 – 20/24 (8ply) Den silk in weft.

Technique applied
Arni silk sarees are produced with dobby for small motif in border. Nowadays, two to
three jacquards with capacity 120-240 Hooks are also used to produce complex designs
in the border, body and pallu. Sarees are woven in throw shuttle pit and frame loom fitted
with dobby or jacquard.

Tamil Nadu Traditional Dresses Of Tamil Nadu –

Dressing Style and Culture! Located in the southernmost part of India, Tamil Nadu is a
state famous for extravagant temples, delectable food and rich culture. One significant
aspect of Tamil Nadu's rich culture is its traditional clothing, which symbolizes the
cultural essence of this south Indian state. A wide variety of materials like cotton,
chiffon, silk, crepe silk, organza, georgette, micro silk and pattola silk is used in the
dresses of Tamil Nadu. Let's find out more about Tamil Nadu attire. Traditional Dresses
for Women Sari finds immense significance in the traditional clothing for women in
Tamil Nadu. The popular Tamil poetry Cilappatikaram portrays females in a sari. Sari is
a dress which women wear in offices, temples, parties and marriages. South Indian saris
are famous across India for their intricate zari work. Kancheepuram sari is especially well
known for its exquisite style. The colour, texture and style of a Kancheepuram sari are
quite different from North Indian saris. The length of sari usually ranges from five to six
yards.
Traditional Dresses for Men The traditional dress of Tamil men is as elegant as the
dress of women. Lungi is the most common bottom-wear for men in Tamil Nadu. It is
wrapped around the waist and thighs. Lungi comes in different colours. It is the
traditional dress worn by men in marriages too. This rectangular shape cloth is generally
made with cotton. It is mostly worn with a shirt or Angavastra. Angavastram is another
significant part of Tamil dressing. It is a piece of cloth wrapped around the shoulders. In
early days Angavastram was used as upper clothing but now it is used above the shirt.
TraditionalAccessories
The traditional dressing of men and women in Tamil Nadu is incomplete without gold
jewellery like necklaces, chains, payals, bangles, maang-tika and earrings. Tamilians love
gold and are known to possess great amounts of gold jewellery. Apart from jewellery,
women in Tamil Nadu love to decorate their hair with flower garlands, known as Gajras.
Traditional Dresses of Kerala –
Kerala Costumes and Traditional Wear The traditional wear of the state is called 'Mundu'
which is worn on the lower portion of the body, from the waist to the foot. It is white and
is worn by both men and women. It resembles a long skirt or a dhoti. The upper garment
varies with gender and age. This dress is worn in Kerala, Tulunadu region and Maldive
islands. Muslim women on the other hand sometimes prefer the black or blue purdah,
while traditional Christian women wear a two-piece blouse and a pleated "Mundu". When
you visit Kerala, you'll see men and women wearing completely white attires. It depicts
purity and elegance. Their warm nature, amicable behaviour and simplicity in living
welcomes all from around the world.
Traditional Kerala Dress of Men - Mundu or Lungi
The lower garment Mundu is a white cloth wrapped around the waist. It has a border
called Kara which can be of any colour, mostly golden. Kara renders a style to the Mundu
by displaying it on the left or right sideof the person. Kara can be embroidered or
decorated with ornaments for special occasions. Mundu can be turned into a half skirt
kind of a thing by tucking the lower end into the waist. Men prefer to do this while doing
any physical activities. The upper garment is called 'Melmundu' which is worn like a
towel on the shoulders. The white shirt is also worn by many men these days. In Hindus,
men wear a Mundu and a Jubba for special occasions. It can be made of silk and Kara is
often embroidered. Muslim men wear a cap called Kulla which differentiates them from
Hindus. Muslims may either wear a shirt and Mundu or sometimes a Sherwani or Kurta,
heavily embroidered. Christian men may wear a shirt and Mundu at their weddings or
maybe a Suit or Blazer. Nowadays the latter is preferred. Traditional Dress of Women in
Kerala - Mundum Neriyathum
The traditional attire for women is called 'Mundum-Neriyathum'. This consists of a pair
of similar Mundus. One of them is worn around the hip on the lower portion of the body,
reaching the ankles. The other is worn on the upper part, with a blouse, one end tucked in
the lower Mundu at the waist and another is passing through the shoulder and falling to
the ground from the back, resembling a saree. Hindu women may wear a Mundu or a
Saree depending on the occasion and custom. For weddings, they prefer Kanchipuram
Saree made of silk and have zardosi or Kundan work on them.

Karnataka.
Karnataka is known for its rich culture, delicious delicacies, dance forms, art, music, and
traditional outfits. Its heritage, multilingual ethnicity and history have a major influence
on the cuisines, unique art forms and the outfits adorned by the people. The outfits worn
by men and women in Karnataka are not only popular in India but throughout the world.
Here’s everything you need to know about the traditional dress of Karnataka for men and
women. Traditional Dress Of Karnataka For Men: The traditional dress of Karnataka for
men consists of Kurta and Lungi. Kurta is a long shirt that goes up to the knees. It is
paired with a Lungi or Dhoti which is loose pant wrapped around the legs and knotted
around the waist. This entire look is adorned with Angavastram which is a piece of cloth
worn above the shoulder to cover the upper portion of the body. Men in Karnataka wear
it with or without kurta. Outfits For Special Occasions: On special occasions, men wear
Panche which is a type of dhoti made in white color. It is paired with traditional kurtas
and Angavastram. This complete attire makes for a great Karnataka culture dress for
men.
People of Kodagu have a distinct style of dressing up as well as accessorizing. The men
adorn their outfits with ornamental sashes, swords, and daggers. The entire look is
complemented with black robes or tunics to give it a royal look. Men also wear
goldtrimmed turbans with their outfits for festivals, weddings, and special occasions.
Andhra Pradesh is the eighth largest state of India, which is extremely rich in culture and
heritage. Costumes of this state are quite popular for the cotton and silk textiles.
However, traditional dress of Andhra Pradesh is quite similar to that of other south Indian
states. The traditional weaving styles have been developed over 3000 years ago.

Traditional Dress of Andhra Pradesh for Men

Dhoti, kurta, shirt and lungi are the traditional dresses of Andhra Pradesh for men. A
dhoti is a long piece of cloth, which is worn by wrapping it around the waist and tucking
in between the legs. The length of the dhoti depends upon one’s preference. It can be up
to knee length or ankle length. Lungi is another long piece of cloth which is also wrapped
around the waist. Men often like to wear this traditional attire. Muslim men of the state
wear pajamas instead of dhoti and kurta with a fez cap (cylindrical red cap). Kurta is
made of cotton and the length of the sleeves is either full or three-fourth or half. Men also
wear shirts instead of kurta with dhoti or lungi.

Traditional Dress of Andhra Pradesh for Women

Traditional dress of Andhra Pradesh for women is saree, which is six yards long and
wrapped around a woman’s lower part of the body; worn with a blouse. Langa Voni is
another traditional attire of women, which is a two-piece or a half saree worn by girls or
young women in Andhra Pradesh. It consists of a skirt, blouse and a dupatta. Girls
generally wear Langa Voni before they get married or before they hit puberty.
 Unit 5
Eastern traditional textiles. Traditional woven textiles of Eastern states of India –
Dacca muslin, applique work of Bihar, Balucheri, Jamdhani. Traditional costumes
of Eastern states of India – West Bengal, Bihar, Jharkhand, Arunachal Pradesh,
Assam, Sikkim, Nagaland, Manipur, Mizoram, Meghalaya and Tirupura

Dacca muslin,

Muslin or muslin fabric is something we Bengalis feel tied closely with our hearts.
Previously called“Malmal”, this carries a bundle of stories from our past enriched with
traditions. This cloth, weighting from delicate sheers to coarse sheeting, holds a golden
history as well as a heartbreaking story of getting dissolved within the history with time
Muslin is a woven cotton cloth which was once a luxury fabric. Although it is commonly
believed that the cloth originated in the Iraqi city of Mosul, despite its name it is now
understood that the cloth likely originated in ancient India. Known as Jamdani, this
original form of muslin was usually brightly coloured and patterned while remaining
lightweight and almost sheer.

Weavers in Dhaka, Bangladesh, used to make this incredibly fine cloth using a method
called the discontinuous weft technique. This technique required the weaver to work two
layers of weft – one as fine as spider’s silk to hold the cloth together and the other
forming the pattern. Each pattern motif was worked individually, using fine bamboo
sticks to interlace the pattern threads with the warp threads.

Applique Tradition in Bihar:

Khatwa is the name given to appliqué works in Bihar. It is about designing by cutting off
one fabric and stitching the pieces to another fabric. Khatwa is mainly used to create
designer tents, canopies, shamianas and much
more. Making of such tents involves work by
both men and women. While cutting clothes
is done by men, women use their expertise in
the stitching part. Khatwa is also used in
designing women garments as well. This is
where the real talent of Bihar people is seen
in the work. The designs created are more
sharp, intricate and highly appealing. Most of
the garment’s shop sell these highly artistic
clothes. People in some villages of Bihar are
involved only in artworks and it is their main source of income. Since the same skills are
passed down to generations, expertise and innovations are immaculate. So, when you are
visiting Bihar, don’t forget to buy yourself some really great paintings and some exquisite
clothes.
Baluchari Saris
region: Baluchari saris are beautiful ornate saris mainly produced in Murshidabad
district of West Bengal. Baluchari sari is distinctly different from other saris of India,
as it commemorates the Nawab and his wife by depicting them on the pallu of the sari.
technique: Making of the motifs for pallu and other part of Baluchari sari is an intricate
process. earlier, Baluchari saris were made on jala looms which were gradually replaced
by the modern jacquard technique. Traditionally the motifs were woven on handlooms,
using softly twisted extra weft yarns which used to give a plump, embroidered effect.
Zari is not used for extra weft ornamentation Now a days, jacquard attachment is used for
weaving patterns on the sari. The design
is drawn on a graph paper; it is coloured
and punched on the jacquard cards.
After punching, these cards are put in
order and fixed in the jacquard machine
on top of the loom. motifs: The pallu of
the Baluchari sari is special as it is
divided into niches bordering a square or
rectangular space in the center. In each
of the niches, a human figure is
depicted, normally a king smoking a
hookah or a queen with a fan or smelling
a flower. A row of three, five or seven
ornate paisleys (kalkas) are seen in the centre of the pallu, around which niches with
human figures are woven. The Baluchari saris are often reckoned with the patterning of
sun, moon, stars, mythical scenes and motifs of natural objects. The field of the saris are
embellished with small butis. Colours like maroon, blue, red and dull dark terracotta were
used as the base colour. ornamentation of butidar Baluchari saris is done with extra weft
motifs in off-white, white, yellow and dull orange coloured yarn. These saris were mostly
worn by women from upper class and zamindar households in Bengal during festive
occasions and weddings. In recent times, scenes from ramayana and Mahabharata are
depicted on Baluchari saris as motifs. Colours have become brighter and polychromatic.
Zari yarns are also used for ornamentation

Jamdani.

The word Jamdani is derived from the Persian word jam, meaning floral and 'Dani', a
vase. It is named after decorative floral patterns found on
Dhakai textile. The availability of Jamdani in Bengal can
be traced back in the first century BCE as the historical
accounts suggest. Jamdani is a hand loom woven fabric
made of cotton, which historically was referred to as
muslin. Historically, Bengal Muslin has been recognized
as a cotton fabric of legendary lightness and distinctive
motifs by many world travelers. Jamdani Sarisregion: The
Jamdani saris are from West Bengal. These are sheer,
delicate saris woven in Phulia, Nadia and Shantipur
villages. These are made in combination of cotton with
cotton, cotton with silk and silk with silk. technique: The
technique of interlocking the extra weft yarns for creating
motifs in the fabric isused in Jamdani saris. These are woven on traditional handlooms.
motifs: Floral geometric creepers, paisleys and leeves are the most common motifs in the
Jamdani saris.
Traditional Dresses of West Bengal.
 Dhotis are lengthy pieces of
fabric spun in cotton or silk
worn by the Hindus. Dhoti
along with Panjabi, form the
traditional dress for all
Bengali men. Previously,
Dhotis were prevalent only in
white however presently;
coloured Dhotis are also in
vogue. The Dhoti is tied at
the waist and wrapped around like a loin cloth passing in between the legs. It is suitably
matched by a Panjabi, worn atop, also made of silk or cotton. The Panjabis are loosely
fitted garments, reaching close to the knees and are available in a wide variety of colours.
It is same a he graceful icon of elegance that symbolises the quintessential Bengali
woman is the Saree, which they prefer to drape in typical Bengali fashion. In West
Bengal, Sarees are primarily woven in cotton and silk which have been named chiefly
after their weaving techniques. The traditional weavers or Tantis of West Bengal are
reputed worldwide because of the quality of fabric spun and their elaborate thread work.
In various districts of West Bengal like Murshidabad, Malda, Nadia, Birbhum, Bankura
and Hooghly, different varieties of Sarees are woven with supreme efficiency and
dedication.
 Unit 6
Western textiles Traditional woven textiles of Western states of India – Maheshwari
sarees of Madhya Pradesh, Patola, Bandhini and Amrus. Traditional costumes of
Western states of India – Rajasthan, Gujarat, Maharashtra, Madhya Pradesh,
Chhattisgarh and Goa

Maheshwari Saree is a type of saree prepared using pure silk and cotton fabric. They are
available in a wide variety of designs that are woven using brocade or zari. These designs
could be checks, stripes, floral borders, and so on. Having originated from the small town
of Maheshwar in Madhya Pradesh, this fabric is not just used for crafting sarees but also
salwar material and dupattas. Due to the popularity of these sarees, they are easily
available in any good saree retailers in Kolkata.

Origin and History

The date of origin of the Maheshwari saree can be traced back to 18th century in Madhya
Pradesh. Initially, these sarees were made out of pure silk, but with course of time, cotton
also came to be used for producing these elegantly designed clothing.An interesting story
behind the origin of these sarees is that a famous queen had once ordered a large number
of artisans and craftsmen from Surat and Malwa to design a unique saree of 9 yards, later
termed as the Maheshwari saree. These cloth pieces were used as special gifts for the
royal guests of the palace.

Varieties
A unique feature of the Maheshwari saree is that each has a specific name of its own,
which indicates its distinctness. The sarees may be plain at the center and have neatly
designed borders, or they may have different variations of stripes and checks. The sarees
fall under 5 broad categories namely Chandratara, Chandrakala, Beli, Baingani
Chandrakala and Parbi. The Baingani Chandrakala and Chandrakala are plain ones, while
the Beli, Chandratara, and Parbi come with stripes or checks.
In spite of their understated grace, these pieces are
cherished by women for their polished finish and
light weight. Although initially they were only
done in silk, Maheshwari sarees are currently
available in silk cotton, cotton, and even wool.
This light fabric is considered the best choice for
women all through the year. If you are in West
Bengal, you can purchase one from any good
maheshwari saree retailers in Kolkata.
Present day scenario
The craft and style of these sarees faced a huge decline in terms of popularity and
productivity after independence. However, with the help of several NGOs, they have
been able to revive their reputation to a great extent. It also underwent great renewal. In
the beginning, these sarees were made in earthy colours like red, maroon, purple, green,
and black. Only natural dyes were used by weavers for the yarn.

Patola Sarees from Gujarat

Patola is the common name given to the sarees woven in Patan/ Surendra Nagar / Rajkot
and nearby craft villages in Gujarat. Technically it is a type of ikat. These sarees are
vertically resisted dyed or weft dyed or both warp and weft
dyed and are also known as single Ikat sarees. They are
woven in silk, cotton and silk-cotton. It can take anything
from six months to one year to make one sari due to the long
process of dying each strand separately before weaving them
together. Patola Sarees from GujaratPatola is the common
name given to the sarees woven in Patan/ Surendra Nagar /
Rajkot and nearby craft villages in Gujarat. Technically it is a type of ikat. These sarees
are vertically resist dyed or weft dyed or both warp and weft dyed and are also known as
single Ikat sarees. They are woven in silk, cotton and silk-cotton.It can take anything
from six months to one year to make one sari due to the long process of dying each strand
separately before weaving them together.
Bandhini, which is a technique of tying-and-dyeing is practiced in some form or the
other in most of the parts of the country. Here is a small guide to knowing what all the
patterns and motifs for the dotted Bandhini practiced in Rajasthan are called as:
1. Bandhini Dots
a. Bindi: These are very small spots without a dark center.
b. Kori- The tear drop shaped or cowrie shell shaped motifs are called Kori.
c. Chundadi- Round Spots are called Chundadi
d. Ghatadi- Square spots are called Ghatadi
2. Bandhini Patterns
a. Single Dot Patterns are called Ekdali
b. small dots with a dark center are called Boond
c. Circles and squared placed in the group of three are called Trikunti
d. A cluster of four dots is called Chauboondi.
Shikari is a pattern in Ghatchola where an animal motif predominates.
Bandhani, derived from the word ‘bandha’ which means to tie, are tie-dyed textiles
primarily from Rajasthan and Gujarat. Tie-dye is a resist dyeing technique in which pre-
determined areas on the fabric are tied tightly with thread to protect them from the colour,
followed by dyeing and removal of threads to reveal an interesting pattern on fabric. The
earliest reference to bandhani dates back to 6th-7th century ad at the ajanta cave paintings
that portray women wearing bodices with resist dyed designs. There is a literary reference
to bandhani textiles in Harshacharita written by Banabhatta in 7th century ad. The
biography quotes the wedding of King Harsha’s sister, Rajyashri and details the tie-
dyeing of the bride’s odhani. The word ‘chunari’ is a commonly used term that refers to
patterns created by fine tie-dyed dots. Since the resist dyeing is done on head-cloths,
chunari is also the name of the garment worn by women in rajasthan . The basic steps of
creating a bandhani textile are as follows: • Pre-preparation of fabric: The fabric
generally used for tie and dye is finer variety of cotton and silk, so that dye can penetrate
deep into the layers of tied fabrics. It is soaked in water overnight and washed thoroughly
to remove the starch in order to improve its dye uptake. The fabric is bleached by drying
it in the sun. tracing of design: The fabric is folded into four or more layers for
convenience of tying
 as well as to achieve symmetry in design. The
design layout is marked on the folded fabric
with wooden blocks, dipped in washable colours
like neel or geru.
• tying of fabric: as per the design, the folded
fabric is raised with a pointed metal nail worn
over the finger. A cotton thread coated with wax
is wrapped tightly around the raised area to create a simple fine dot: bundi or bindi,
which is the basic motif of the design.
• dyeing of fabric in the lightest colour: after tying, the fabric is dyed in the lightest
colour first from the selected colour scheme. After dyeing, fabric is washed, rinsed and
dried.
• renewal of tying and dyeing in next-darker colour: Parts of the fabric to be retained
in the lighter colour are covered with tying and then the fabric is dyed in the next darker
colour. The Process of re-tying and dyeing is continued till the darkest colour in the
scheme is applied.
• Washing: Following the final dyeing, the textile is washed to remove excess dye and
starched.
• opening the ties: The ties of the tie-dyed fabric are kept tied till purchased by a
consumer in order to differentiate between a bandhani textile and a printed imitation. only
a portion of the bandhani textile is opened to display the colour scheme to the customer.
To unravel the ties, the bandhani textile is stretched crosswise to open all ties at the same
time.
AMRU.
Amru brocades where all brocade work is only in silk — no zari. Also referred to as
Hemaru. The pure silk weft yarn lends a richness and lustre to the fabric quite different to
that of the zari brocades. The pure silk jamavars can be termed Amru brocades. Himrus
are the famous silk brocades of Hyderabad (Deccan). The state’s second largest town-
Aurangabad is the chief centre of the art of Himru-weaving. Himru probably a derivative
of the Sanskrit Him (snow) is a fabric used in winter. The ground is cotton, and silk is
used for the brocade on the surface. The yarn used for weaving Himrus is spun so as to
produce, when woven, the effects of a warm soft material like wool. The
peculiarity of the Himru is that the silk thread which is used to form a pattern on
the surface of the cloth is carried to the reverse side of the cloth and is collected
there in clumsy long loops. This forms a rather loose but soft warm layer.
Further, the accumulation of the loose threads on the reverse of the cloth
necessitates a lining to all garments made of Himru cloth. Thus Himru garments make
very warm clothing suitable for the cold season.When silk thread is used exclusively
for weaving Himru, the fabric is called “Amru”. Amrus are generally made in
Ahmedabad, Surat & Banaras. Himrus are used for men’s Achkans, Chogas, and for
female wear also, e.g., for blouses and lehangas. For generations, the Nawabs of Surat
used a special quality of Himru fabrics for their dresses which was called the “Nawab’s
Himru”. These fabrics are also used for upholstery and curtains.