Ajanta: The Colour and Monochrome Reproductions of the Ajanta Frescoes Based on Photography v4.c16.4

v4.c16.4

The paintings of this period also throw considerable light on the social and economic conditions of the Deccan. Woman's place is generally inside the house, where she is shown behaving quite freely with her consort, but in court-scenes she is generally represented in a bashful mood.³ She is always most devoted to her husband and accompanies him even in exile.⁴ She soothes feelings of anger where harm to any person is threatened.⁵ Her dress, although scanty, shows good taste both in style and choice of material. There is a large variety in the designs of garments for the upper part of the body, ranging from a mere strip (*brassière*) to the tight-fitting half-sleeved bodice (*cholī*), and the full-sleeved shirts with slits (or cuts) on back and sides to show the beauty of form to advantage as well as to ensure freedom of movement.⁶ The material for these garments is sometimes almost transparent, a gossamer-like fabric, the tradition of which goes back to a very early period, as we know because the diaphanous muslins of Kalinga (Orissa) are mentioned in the *Periplus*. The other materials are silks and brocades with floral designs. The Deccan has been noted for its fabrics from ancient times, and both Greek and Roman writers mention this industry when describing the articles exported from the ports of the Western Coast of India. The lower garment of the ladies generally consists of a *sārī* which comes up to the waist-line and does not cover the back and the shoulders, except in the case of elderly ladies, such as Mahājanaka's mother.⁷ Ladies of Western Asiatic countries are shown wearing long full-sleeved coats and low skirts.⁸