The Sanskrit Drama in its Origin, Development, Theory & Practice c22.s2.7

c22.s2.7

Colour,² however, is by no means confined to garments; the actors are expected to adorn themselves with paint of hues appropriate to the rôles they play. There are, on one theory, four fundamental colours, white, blue-black, red, and yellow, from which others are developed, for instance pigeon colour by mixing the first two; a reddish yellow (gaura) from mixing the last two is also recorded. It or dark (śyāma) is given as suited for kings, while happiness is indicated by it. Kirātas, Barbaras, Andhras, Draviḍas, the people of Kāci and Kosala, Pulindas, and the people of the Deccan are to be black (asita); the Ṣikas, Yavanas, Pahlavas, and Bālhikas³ are to be reddish yellow; Pāñcālas, Ṣūrasenas, Māhiṣas, Uḍras, Māgadhas, Aṅgas, Vaṅgas, and Kaliṅgas are to be dark (śyāma), as also Vaiṣyas and Ṣūdras in general, while Brahmins and Kṣatriyas are to be reddish-yellow.