Ancient Indian Costume c6: Satavahana (Andhra) Period

Ancient Indian Costume c6

Language: English

c6.s1 The Royal Way of Life — 2 parts
c6.s2 Early Satavahana — 3 parts
c6.s3 Late Satavahana (100 B.C.-A.D. 250) — 19 parts

Satavahana (Andhra) Period

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*Main archaeological sites of interest for costumes*
- Sanchi Gateways
- Ajanta Caves IX, X
- Amaravati 1st, 2nd, 3rd and 4th Period
- Goli
- Nagarjunakonda

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.

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Racially, the early people of the Deccan were a 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 A.D. the Satavahanas were ousted by the Ikshvakus, who were themselves from the Deccan.

The Royal Way of Life

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From as early as the Mauryan-Sunga period there were six emblems to denote a royal personage. These were the *ushnisa* or turban, a pair of flywhisks, umbrella, sword, sandals, and the royal standard. Of these, the two most important and almost always used on all formal occasions were the umbrella and the flywhisks. The umbrella was white and gold for kings and nobles, and was carried by the *chattradhara* or umbrella carrier. The flywhisks or *chauri* were made of yak tails with gold handles, usually two, which were waved alternately by the *chauri* bearers. In addition to this a fan of palm leaves gaily chequered and made of bark, *usira* grass, or peacock feathers was waved by another attendant.

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The sword or *khadga*, a symbol of power, was carried by a female attendant, the *khadgavahini*, on her shoulder. She normally stood close behind the king or prince. Thonged sandals originally of boarskin were the king's prerogative. Both sword and sandals were said to rule the kingdom in the absence of the king.

Early Satavahana

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(200–100 B.C.)

Costume

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The people of the Deccan were a hybrid race, a mixture of the aboriginal Dravidians and foreign invaders. In the first century B.C. their costumes too were an interesting mixture of foreign and indigenous garments. All these clothes are represented in Caves IX and X in Ajanta.

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In the first century B.C. 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 Dravidian aboriginal village women too changed their costume using short *antariyas*, large *uttariyas* with elaborate broad 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 the Deccan today.

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In the royal court dress of the Mauryan-Sunga people the female attendants wore transparent long *antariyas* with loose *kayabandhs* tied in a knot at the centre having beautiful ornamental tips. Their many-stringed girdles or *mekhala* were made of beads. Shoulder-length hair held by fillets or top knots tied at the centre of the head seems to denote that these attendants were foreigners, although nothing in the garments worn seems foreign. The king and most of his courtiers wore the indigenous *antariya*, short and informal at home, with the longer style worn in a variety of ways on ceremonial occasions. With this the decorative *kayabandh* was tied in different styles and knots. The *kayabandh* could be tied like a thick cord or be worn looped in a semi-circle at the front with conspicuous side tassels, or be made of thick twisted silk. The *ushnisa* was always worn and a crown or tiara was used when necessary.\

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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 top knot on the right side with a loop of flowers suspended or in a plait. A fillet, simple or gold embroidered, could be worn to hold it in place.

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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 aboriginals—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.

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Jewellery in this period had a massive primitive character in strong contrast to that worn in the later Satavahana period. When indigenous garments are shown on men, whether at court or in villages, all wear some form of jewellery. But when the foreign dress, the *kancuka* or tunic, is worn by hunters, attendants, and soldiers, very little or no jewellery is seen. Most often it consists of just earrings of the wheel-pattern type.

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Indigenous jewellery however, consisted of *lambanam*, earrings, and a pair of *kangan* and *baju band* for the males. Women did not wear the *baju band* but wore a large number of bangles made of conch or ivory, disc-type earrings, the *lambanam*, and *tikka* on the forehead. Women attendants at court wore, in addition, the *mekhala*.

Military Costume

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Soldiers wore short-sleeved tunics or jackets, with elaborate headgear consisting of either a turban with a top knot, chin band and ear flaps, or two top knots with a turban. They were equipped with axes, and bows and arrows, or carried sickles. Palace guards however wore the *antariya* with a heavy cloak draped over the left shoulder.

Late Satavahana (100 B.C.-A.D. 250)

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Clothing was generally sparse and made of thin cotton. The three articles of clothing, the *antariya*, *uttariya*, and *kayabandh* were widely used, but interesting mixtures of foreign and indigenous garments were fairly prevalent.

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The *uttariya* for both men and women was usually white and of cotton or silk. It was however, at times, of beautiful colours and embroidered. Men could wear it across the back and over both shoulders or merely thrown over the chest, and they seldom wore it as a head covering. The *antariya* was still worn by both sexes in the *kachcha* fashion which meant that one end was passed between the legs and tucked in behind, but this way of draping had its own fanciful fashions. For men it was normally to the knees or even shorter. Generally, the *antariya* appears to have been made of almost transparent cloth and was worn very tight and clinging in the case of women. It is almost invisible in the early Andhra sculptures with only double incised lines to show the drape. The *nivi bandha* or preliminary knot to tie the *antariya* at the waist is often alluded to in the literature of ancient India.

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The *kayabandh* tied in a bow-shaped knot was worn by both sexes to give further support to the *antariya* at the waist. This item was worn in a variety of ways. The *kayabandh* in the form of a simple sash was called the *vethaka*. The women also wore the *pattika* which was made of flat ribbon-shaped pieces of cloth, usually silk. A heavy-looking thick jewelled roll with hanging tassels—*kakshyabandha*—was worn by men. The *kalabuka* was a girdle made of many strips plaited together, and the *muraja* had drum-headed knots at the ends instead of tassels.

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It is in the distinctive ways of wearing these three simple garments the *antariya*, *uttariya* and *kayabandh* and in the headgear and jewellery, that we can trace the evolution of the costumes and the fashion of the times in areas of India where they were in use. The true *yajnopavita* or sacred thread is found on the sculptures of this period. Before this, it existed more in the form of the *uttariya* worn draped over the left shoulder and under the right arm in the *upavita* fashion from which the term *yajnopavita* seems to have been derived. The *yajnopavita* consisted of three cotton threads each of nine twisted strands, but of hemp for the Kshatriya and of wool for the Vaisya. At a later stage this sacred thread continued to be used in a limited way by other castes but was retained most strongly by the Brahmins.

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A stitched shirt-like foreign garment called the *kancuka* was frequently used by attendants, grooms, guards, and so on in the king's court, and an indigenous long tunic was worn by eunuchs and other attendants in the women's apartments in the palace. Women too wore the short *kancuka* with an indigenous *antariya*, or when calf-length it was worn with a *kayabandh* and *uttariya*, and in many other ways.

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The *ushnisa* of the men was generally wrapped around three or four times after first covering the top knot of hair with one end. It was normally white but could also be of dyed cloth, and simple turbans were held in position by ornamental gold strips or *pattabandha*. Gold turbans were worn on special occasions. *Kirita* or crowns were also in use, of which one type was a short cylindrical cap studded with gems and ornamented with designs. The *maulibandha* was an elaborate turban wound with the hair which itself was decorated with strings of pearls or flower wreaths. The turban normally covered the hair which was arranged in a large top knot at centre front, and could have a jewelled clasp or *maulimani* at the centre to hold in place the folds of the turban. This top knot could also be pear-shaped or elliptical to give it variety. Without the turban, the hair could be worn in one or two top knots, or one loop and one top knot. Short hair parted in the middle and reaching the neck was fairly prevalent, especially among the common people.

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Women wore their hair in several ways. One was in the form of a plait, *praveni*, at the back, decorated with jewelled strips and tassels, as Bharat Natyam dancers do today. Another common style was the coil with five delicate plaits dangling from it, a favourite with all classes of women. In the *kesapasa* style the hair was looped close to the head in an elongated knot at the back of the head or lower down at the nape. This could have a *veni*, a small fillet of flowers, around it or a short garland of flowers dangling from it. If the hair was made in a simple knot it was known as *kabaribandha*. The *dhammilia* was elaborate dressing of the hair with flowers, pearls, and jewels that often completely covered the hair like a close cap or turban. This style was greatly admired in the Satavahana kingdom.

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Women no longer wore the turban of earlier periods. Special ornaments were designed to be worn in the hair. The *chudamani* was lotus-shaped, its petals composed of pearls and precious stones. It was worn normally in the centre of the knotted hair. The *makarika* was shaped like a fish-crocodile and worn at the front parting of the hair, very like the gold ornament worn by the Uriya women in the northern Circars. There were also small crownlike fillets through which the hair was drawn and then plaited or hung loose.

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Strands of pearls were the main motif in all forms of jewellery particularly in the late period of the Satavahana empire. Both men and women wore earrings, bracelets, armlets and necklaces as in previous periods, particularly the indigenous people. The more common design in earrings was the *kundala* shaped like a coil, which could be simple or decorative. The *talapatra* originated from a small strip of palm leaf rolled and inserted into the lobe. This shape was later made from ivory or gold and could be gem-studded. A full-blown lotus design the *kanaka-kamala* set in rubies is still popular in south India, and a couple of generations ago the *karnika* or *jimiki* continued to be in use. This was in the shape of a lotus seed-pod fixed upside down like a tassel. Necklaces or *hara* were mainly strung with pearls, sometimes consisting of only a single string called *ekavali*. A necklace of gems and gold beads was called *yashti*, the central bead being often larger than the others. Several of these necklaces could be worn together. Sometimes three or five slab-like gems, *phalaka*, were inserted at regular intervals. These held together the several strings of which a necklace was composed, and the whole was called a *phalakahara*.

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A simple perfumed cotton-thread necklace was known to have been in use, and tiger claws were strung around the necks of children probably to ward off the evil eye. The *yajnopavita*, or a sacred thread made of pearls called the *muktayajnopavita*, were prevalent. *Kantha*, the shorter form of necklace, continued to be in use and was often of gold set with rubies and emeralds. Also, the gold-coin necklace *nishka* strung on silk thread or plaited gold cord was worn in almost the same design as the modern *putalya* of Maharashtra and the *malai* of Tamil Nadu. These gold coins were sometimes replaced by mango-shaped pieces of gold or gold set with gems, like the contemporary *mangamalai* of south India. Men and women wore bracelets *valaya* of solid gold set with precious stones. The more delicate ones were made of filigree, and elegant rope-shaped ones of fine gold wire were worn generally by women. They also used bangles of ivory and rhinoceros horn. Slab-like gems when set into bracelets, like the *phalakahara* necklace, were called *phalakavalaya*.

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Armlets or *keyura* for both sexes were close-fitting and could be engraved or set with jewels, or be in the shape of a snake; also, they could be straight-edged or have an angular top edge. Jewelled girdles of one or many strings, *mekhala*, were worn only by women. These were made in several varieties from the tinkling *kanci* with bells to the *rasana* style made of a linked chain or strung with pearls, beads or precious stones. These girdles, besides being very attractive, held up the lower garment or *antariya*. In addition, cloth girdles or *kayabandh* like those of the men described earlier in this chapter, were also used for the same purpose.

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Anklets, worn again only by women, had an astonishing variety. The *manjira* was hollow and light, coiling several times around the ankles loosely, and tinkling when in motion as it had gems inserted in the hollow. This type is still worn in Marwar. The *nupura* was plain while the *kinkini* had small bells suspended. A heavier looking one was the *tulakoti* whose two ends were enlarged at their meeting point. This form is still worn in Andhra. Tinkling anklets of any kind were not worn by the wife in the absence of her husband. The finger ring or *anguliyaka* is visible on some of the Satavahana sculptures but only after A.D. 150.

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The *hemavaikaksha* was an ornament worn by women, seen more frequently in the Kushan period. It consisted of two long wreaths of flowers or pearls crossed at the breasts.

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Andhra soldiers wore an *antariya* which was shortened by lifting it at the hemline and tucking it into the waist to facilitate marching, and the style is still used in Tamil Nadu. A cloth sash or *kayabandh* was wound tightly many times around the waist for support and was sometimes crossed at the chest for protection. This developed in later times into the *channavira* which was similar in function to the early Babylonian and Assyrian sword belts crossed at the chest with a metal buckle in the centre. In addition, the military personnel of this period occasionally wore earrings and simple jewellery.

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Saka foreign soldiers were employed by some of the Andhra kings in the royal bodyguard. They wore a heavy tunic with ruched sleeves which reached to the knees or mid-thigh. With it was worn a form of *churidar* or ruched trousers, and their helmet or *sirastra* had ear flaps. A wide sash was worn at the waist. Sometimes a short quilted tunic was worn with a heavy drape over the left shoulder along with a turban—a mixture of the foreign and indigenous garment. Footwear was not incumbent for soldiers and was probably worn by foreign rather than indigenous troops.

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The equipment of a trained fighter was mainly his sword, shield, bow, axe and spear; sometimes the mace, club, and javelin were used. Swords were either curved or straight and could have a sharp edge on one or both sides. They were 30 inches long and beautifully crafted. Handles of ivory or horn and hilts of precious metals encrusted with jewels were carried by those in command, and simpler ones of bamboo or wood were used by the common soldier. These swords in their sheaths, *kosha*, of fine-tooled leather were normally fastened on the left side of the waist. Smaller and more ornamental swords and daggers were fastened by gold chains.

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Shields, mainly rectangular in shape, were purely functional and large enough to protect the body. The club or *gada* could be short or long but was immensely heavy and was used for striking the enemy forcefully. The bow or *dhanush* made of wood or horn was painted red and gaily decorated, but the bamboo bow was more common. The bow string was made of sinew or hemp. The heads of the arrows were of iron, bone, wood and were carved into animal and other shapes, and had shafts of feathers affixed with sinews. Sometimes the arrow tips were dipped in poison.

Religious Persons

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The Buddhist monks were now in a very powerful position and had more or less abjured their vow of poverty. Their clothes now retained a semblance of patchwork but were composed of rich pieces of cloth of the same colour, symmetrically arranged together in checks, and most probably presented to the Buddhist order by rich donors, as referred to in the Jatakas.

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Hindu ascetics continued to wear their bark strip garments *valkala* with a deer skin over the left shoulder in the style known as *ajinayajnopavita*. Their hair was tied in a heavy bundled top-knot of matted locks called the *jata-bhara* and sometimes the hair was worn in small plaits. The priests were Brahmins who wore white garments but added a red turban when officiating at ceremonial functions.

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Jain monks and nuns have retained their white robes to this day, and all their beliefs and customs have remained unchanged because of their strong conservatism.

Textiles and Dyes

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From Mauryan times and even earlier, the manufacture of textiles in India had flourished and there are constant references to its variety in the Brahmanical, Buddhist, and Jain works. Coarse and fine varieties of cotton were in great demand. Silk formed an important part of the rich person's wardrobe. A very cheap material made of hemp was worn by the weavers and by labourers of all kinds. Wool was not needed much in the part of India ruled by the Satavahanas which had a warm climate, but it was used in the form of *chaddars* or blankets in winter.

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There was a variety of dyes available from Vedic times, indigo, yellow, crimson, magenta, black and turmeric. Since washermen were also dyers, these colours were well-known to them and the knowledge of the dyeing processes was probably handed down to each successive generation.

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Varieties and mixtures of colours known to those countries with which the Satavahanas did a great deal of trade, like China, Persia, and Rome, must also have been incorporated to extend their range of coloured textiles.

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Printed and woven designs on textiles were plentiful and embroidery in gold was also common among the richer classes. The *uttariya*, in particular, was very often of silk and embroidered with flowers all over, or had a pattern of birds along with flowers. Precious stones were often used in the borders of these *uttariyas* or they were dyed blue or red, but a spotless white remained the favourite with men.

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The late Satavahana style expressed more directly the full impact of the Dravidian-Andhra ethos. With the crowded compositions of lean and strong bodies and the ferocious figures looming over terrified crowds, we feel a sense of frenzied activity and turbulence. The *kayabandhs* make complex arabesques, but there is less differentiation between the court and the people as they throng together.

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13. VILLAGE WOMEN

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*(Ajanta, Cave X)*

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**Antariya** short and worn in *kachcha* style

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**Uttariya** of heavy material with elaborate broad borders worn straight or crosswise over the head and thrown back over the shoulders

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**Mekhala** woman on the right wears a two-stringed bead hip girdle

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**Lambanam** necklace of the woman on the left is in the *phalakahara* style; the other wears a simple string of beads

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**Karnika** woman on the right wears disc-type earrings called *dehri*

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**Kangan** conch or ivory bangles in graded sizes are worn by the woman on the right

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**Kara** single, heavy anklets are worn by the woman on the right, the other wears three on each ankle with a granulated design

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**Baju Band** single flat band with raised edges or two narrow bands

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**Hairstyle** large bun at the nape

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**Bindi** either painted or affixed on the forehead

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14. COURT ATTENDANT

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*(Ajanta, Cave X)*

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| **Antariya** of sheer cotton | **Kangan** both granulated and plain seen on the left arm |
| **Kayabandh** narrow *pattika* tied in a bow at the front of the waist | **Hairstyle** centre parting, hair hanging loose to the shoulders and decorated with ornamental chains |
| **Kantha** *phalakahara* style necklace | **Sitara** large disc at the forehead, either painted or affixed |
| **Karnika** simple disc-type earrings called *dehri* | *She carries a fan typical of the times.* |

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15. NAGA KING

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(*Ajanta, Cave IX*)

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**Kantha** broad and flat short necklace with four pendant pieces (base-metal)

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**Karnika** large cylindrical earrings with a decorative design (base-metal)

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**Kangan** heavy and cylindrical bracelets (base-metal)

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**Baju Band** thick cylindrical armlets with pendant pieces (base-metal)

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**Head-dress** turban is twisted around the head and held with a decorative band; hair is long, as worn by aboriginals, and is arranged in a top knot and five crests with ribbons like serpents’ hoods

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16. KING AS HUNTER

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*(Ajanta, Cave X)*

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**Kancuka** mid-thigh length tunic with round neck and short magyar-type sleeves

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**Kayabandh** wide, worn wrapped around the waist a couple of times and tucked in

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**Ushnisa** turban cloth wound with hair and twisted into a top knot; the rest of the cloth is then wound around the head

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**Karnika** ring-like earrings, *kundala* type

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*Although not visible, a short langoti-type antariya is worn.*

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(*Amaravati, 1st period*)

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

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**Kayabandh** *kakshyabandha* style, a thick roll worn aslant at the hips with beautiful ornamental tips and tied in a large loop-knot

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**Belt** with granulated pattern worn higher than the *antariya*

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18. ATTENDANTS

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(*Ajanta, Cave X*)

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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 bearer or *chhatradhar*, she wears her hair held back by a fillet and made into a top knot

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

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19. COURTIER

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*(Ajanta, Cave X)*

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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

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20. NAGA PRINCE

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(*Ajanta, Cave IX*)

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hair is arranged in a large top knot at the centre with the turban wound around the head after twisting it around the knot, a brooch decorates the centre of the top knot; earrings are of the double disc-type; necklace, bracelets and armlets are made of base-metal, and are probably hollow **21. SOLDIERS** (*Ajanta, Cave X*)

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| **Kancuka** mid-thigh length tunic with short sleeves | **Ushnisa** turban twisted around and through double top knots of hair |
| **Uttariya** tied around the neck to free the arms | *They are carrying a kind of spear in their hands.* |
| **Karnika** disc-type earrings called *dehri* | |

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22. SOLDIERS

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(*Ajanta, Cave X*)

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| **Kancuka** | **Hairstyle** |
| both have short-sleeved tunics with round necks, the neck opening is obviously at the back | simple top knot at the centre of the head very like that worn by the hillmen of South Manipur and Burma called the Chins |
| **Karnika** | |
| *kundala* or ring-type earrings | *They carry battle axes.* |

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23. WOMAN

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*(Amaravati, 4th period)*

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**Ghagri** gathered calf-length skirt probably with a drawstring at the waist

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**Kayabandh** simple *vethaka* style, but long and wound several times around the waist

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**Uttariya** wrapped loosely around the hips and draped over the left arm

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**Valaya** several bangles of ivory or rhinoceros horn

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**Kundala** ring-type earrings

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**Manjira** hollow light anklets, coiling twice around and probably making a tinkling sound in movement

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**Hairstyle** drawn back into a simple knot at the nape

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24. KING

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(*Nagarjunakonda*)

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**Antariya** falling to the ankles, worn in *kachcha* style with pleats tucked in at the back and visible in the front between the legs

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**Kayabandh** elaborately rolled and twisted at the waist, falling in graceful loops at the sides with one rope-like loop in front

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**Belt** ornamental belt

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**Kantha** short necklace

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**Keyura** straight-edged armlets with pressed or filigree decoration

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**Kundala** ring-type earrings

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**Valaya** simple bangles at the wrists

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**Hairstyle** loose to the shoulders with a small fringe at the forehead

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**Headgear** an ornamental disc attached to a head band or top knot

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25. PRINCE

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(*Goli*)

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**Antariya** worn in the same style as in Fig. 24.

c6.s3.t2.89

**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

c6.s3.t2.90

**Belt** ornamental belt

c6.s3.t2.91

**Kantha** three of different sizes worn together to form a collar

c6.s3.t2.92

**Keyura** flat and decorative armlets

c6.s3.t2.93

**Valaya** three bracelets on each hand of some heavy metal or bone and incised with patterns

c6.s3.t2.94

**Kundala** ring-type earrings with tassels suspended

c6.s3.t2.95

**Headgear** ornamental disc worn in front of *jatta* or knot of hair

c6.s3.t2.97

26. PRINCE

c6.s3.t2.98

(*Nagarjunakonda*)

c6.s3.t2.99

**Antariya** worn in *kachcha* style and spread out after tucking in at the back, in double fish-tail style; the little frills in the front could be just a puff of the *antariya* pulled out at the waist over the *nada*

c6.s3.t2.100

**Kayabandh** rolled twice at the waist, then looped in the front so that the two ends are worn loosely spread out as a frill at each side

c6.s3.t2.101

**Kantha** collar-like necklace

c6.s3.t2.102

**Hairstyle** in top knot

c6.s3.t2.104

27. CHATTRADHARA: UMBRELLA BEARER

c6.s3.t2.105

*(South India)*

c6.s3.t2.106

Antariya

c6.s3.t2.107

ends a little above the ankles; *kachcha* style, with the pleated ends passed between the legs and tucked in at the back centre

c6.s3.t2.108

Kancuka

c6.s3.t2.109

fork-length tunic with long sleeves and round neckline

c6.s3.t2.110

Kayabandh

c6.s3.t2.111

simple sash *vethaka* style, tied at the back with hanging ends

c6.s3.t2.112

Umbrella

c6.s3.t2.113

white with gold work on the handle

c6.s3.t2.114

Hairstyle

c6.s3.t2.115

simple, worn hanging loose at the back

c6.s3.t2.117

28. DVARPALA: DOOR-KEEPER

c6.s3.t2.118

*(Nagarjunakonda)*

c6.s3.t2.119

**Kancuka** knee-length tunic of heavy cloth with long ruched sleeves and gathered neckline

c6.s3.t2.120

**Churidar** narrow ruched trousers

c6.s3.t2.121

**Kayabandh** wound several times around the waist

c6.s3.t2.122

**Headgear** helmet with peaked top called *sirastra*, sometimes with ear flaps

c6.s3.t2.123

**Torque** necklace of twisted wire

c6.s3.t2.125

29. ATTENDANT

c6.s3.t2.126

*(Nagarjunakonda)*

c6.s3.t2.127

**Kancuka** probably calf-length, it has a gathered neckline with a band and long sleeves decorated with a braid in stripes

c6.s3.t2.128

**Uttariya** heavy and long, draped formally across the chest and around the left shoulder

c6.s3.t2.129

**Kayabandh** heavy, wound twice around the waist

c6.s3.t2.130

**Headgear** turban with a fan-shaped frill

c6.s3.t2.131

*Probably a master of ceremonies, he carries a staff.*

c6.s3.t2.133

30. MALE

c6.s3.t2.134

(*Ajanta Cave X*)

c6.s3.t2.135

**Ushnisa** turban tied casually in a knot with one end going down and the other up

c6.s3.t2.136

**Kundala** suspended disc-type earrings ↵

c6.s3.t2.137

31. FEMALE

c6.s3.t2.138

(*Ajanta Cave X*)

c6.s3.t2.139

**Kirita** a crown-like headgear with semicircular motifs in front and larger lotus petal designs at the back

c6.s3.t2.140

**Kundala** large ring-type earrings →

c6.s3.t2.143

32. PRINCE

c6.s3.t2.144

(*Nagarjunakonda*)

c6.s3.t2.145

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

c6.s3.t2.146

33. BUDDHA

c6.s3.t2.147

(*Goli*)

c6.s3.t2.148

**Antariya** worn in *lehnga* style

c6.s3.t2.149

**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

c6.s3.t2.150

**Hairstyle** in top knot

c6.s3.t2.151

*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 colour of their garments was reddish-yellow and no jewellery was worn.*