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The waist-band has been referred to variously as kati-sutra, kati-bandha or kamara-bandha. The term kati-sutra is defined in Manasara^[1] as a line or girdle by the hip or buttocks. It was also called in the literature by the term Sroi i.e., a waist-band or a string worn round the loins^[2]. The usage of kati-sutra can be regarded as one born out of a functional necessity. In its simplest variety it can be seen in the form of an ordinary cloth, arranged in pleats and tied around the waist so as to provide support to the lower garment. This simple practice with origins in functional necessity got transformed into an ornamental type. Probably the rich-class got specially made kati-sutra having decorative designs on it, with a prominent buckle at the centre and ribbon like tassels dangling at the sides. These bands could be of either of cloth or string of beads or pearls or metal.

Based on the kind of ornamentation on the band and the clasps adorning it various types of a kati-bandha can be supposed to have been in usage in this period as following:

(i) Plain waist-cloth

The earliest and simplest type of a kati-bandha appears in the form of a piece of cloth, folded and tied around the waist as could be seen on the male and female figures depicted in the panels from the Thantonrisvara temple at Kanchipuram. A cloth tied in similar fahion can be usually seen fastened around the waists of sages and priests. Best examples of this kind can be seen worn by the pair of dvarapalakas flanking the Brahmasasta shrine in the Trimurti cave temple at Mamallapuram. Interestingly such a waist-cloth can also be noticed tied around the waist of Mahishasura (fig. 318) in the Mahishasuramardini cave temple as well as that of Varaha in the Varaha cave temple at Mamallapuram. Similarly, Durga on the rear wall of the Draupadi-ratha wears a waist-cloth with its folds clearly visible as horizontal stripes. An example of this kind worn by a commoner can be found in the depiction of men on the Govardhanadhari panel at Mamallapuram.

(ii) Plain kati-bandha

A kati-bandha in the form of a plain band fastened with a knot in the middle, without any decorative patterns or accessories is the most common type as can be noticed on several sculptures in the various rock-cut cave temples and structural temples. It is interesting to notice that the earliest cave temple of the period viz., the Lakshitayatana at Mandagapattu gives an example of this kind, on the pair of dvarapalakas (fig. 319) flanking its facade. Here the kati-bandha modeled in the form of a band is fastened by means of a knot in the middle. From the historical panels in the Vaikunthaperumal temple at Kanchipuram, it is noticed that all the men and women irrespective of class hierarchy have used a kati-bandha of this type. However, in this regard caution should be observed before drawing any conclusion due to the minute nature of the carvings and worn-out condition of several panels.

(iii) Ornamental kati-bandha

A fine example of an ornamental variety can be found worn by a dvarapalaka (fig. 320), carved on the left flank of the shrine-cell in the Satrumallesvaralaya at Dalavanur. The ornamentation is in the form of series of rectangular panels with rosette pattern in each of them. The contour and appearance of the band gives ample support to claim, that it is indeed a specially crafted strip of cloth, tailored for the purpose of fastening around the hip in the form of a belt.

The Trimurti cave temple at Mamallapuram gives a glimpse into three different kinds of ornamental designs used on the kati-bandha of those times. A brief glance gives the appearance of only a plain kati-bandha, but a minute observation reveals its ornamental nature. Whereas, the kati-bandha of both Siva (fig. 321) has row of beaded designs all along its length, Vishnu (fig. 322) has three beaded鈥揻loral decorations on them鈥搊ne in the middle and the other two at the either ends of the band, that of Brahmasasta (fig. 323) has only one such decor in the middle. From either side of the central floral decor can be seen hanging the ends of the sash. The kati-bandha of Vishnu has more decorations. Hanging from the two extreme floral decorations on the band can be seen tassels formed of beads or pearls with a bell or bud like pendant.

Similar to the kati-bandha seen on the image of Siva in the Trimurti cave temple at Mamallapuram, many sculptures of chamara-dharis in the Kailasanatha temple complex at Kanchipuram can be seen wearing a kati-bandha with circular or oval gems set into it. The central part of this band consists of a buckle which is either rectangular and plain or circular with floral like designs. Similar one can be seen adorning the waist of of Durga (fig. 324) on the northern wall of the Mulasthanattup-perumanadigal shrine in the Bhaktavatsala temple complex at Tirukkalukkunram. Here additionally, from the knotted portion of the band, a pair of plain ribbon like tassels can be seen with the tips shaped in the form of a bell.

(iv) Ornamental kati-bandha with kirti-mukha clasp

Kati-bandha with a clasp modeled in the form of a kirti-mukha can be noticed rarely in this period. It becomes popular in the sculptures that belong to the transition phase of late Pallava to early Chola period, from about last decades of 8^th century A.D. In all these cases the most common thing is the kirtimukha clasp adorning the central part of the band, the form of which is almost similar in all the sculptures of this period. In contrast a variety of ornamentations can be noticed on the band. Thus an image of Vishnu (fig. 325) in the act of blessing Brahma on the north wall of the Vaikunthaperumal temple at Kanchipuram, wears a kati-bandha having series of square shaped gems set into it. Similarly an image of Durga enshrined in the niche on the northern wall of the ardhamandapa in Jalanadesvara temple at Thakkolam, wears a kati-bandha formed of three ledges and ornamented with floral decoration. A similar kati-bandha with kirti-mukha clasp, but of different decoration on the band in the form of series of circular and rhombus shaped gems can be met in the image of Surya from Kaverippakkam^[3] (fig. 326). A more ornamental variety with loops and tassels hanging from the fringe of the waist-band can be seen on an image of Surya from and Satyamangalam^[4]. In all these examples two ribbon like loops can be seen issuing from the gaping mouth of the kirtimukha. Probably the loops are modeled imitating the loose ends of a cloth made kati-bandha. Judging from the nature of decoration and form, it can be presumed that a kati-bandha of this type, including the kirtimukha buckle is a metal made one and the various geometric designs, floral flourishes and tassels are formed of inlay work using semi-precious stones and pearls.

(v) Ornamental or plain kati-bandha with floral clasp

A seemingly plain kati-bandha with small floral ornamentation, formed probably of pearls covering the knot portion can be seen on an image of Arjuna (fig. 327) in the panel of Kiratarjuniya, carved on the outer wall of a angalaya in the Kailasanatha temple at Kanchipuram. Uma, in the Somaskanda panel painted on the rear wall of a angalaya in the same temple can be seen wearing a band with a floral clasp, probably of gold with an ovoid gem inlaid in its centre. An image of Urdhvatandava Siva enshrined in a niche on the northern wall of the ardhamandapa in the Muktesvara temple at Kanchipuram is seen wearing a plain kati-bandha with a clasp in the form of a flower having four petals. Similarly, an ovoid clasp resembling a flower, with a gem set into its middle and fringed with beaded design can be seen adorning the kati-bandha of Sandhyanritta-murti enshrined in a niche on the northern wall of the ardhamandapa of Matangesvara temple in the same place.

A kati-bandha with a prominent floral buckle in the middle can be seen on the image of Vishnu from Satyamangalam^[5] (fig. 328). Here the band is treated with alternative geometric designs of circle and square. A similar design can be seen on the kati-bandha of Vishnu standing to the right of the Lingodbhava form of Siva on the southern wall of the main niche in the Rajasimhesvara temple in the Kailasanatha temple complex at Kanchipuram.

Footnotes and references:

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[1]:

Kati-sutram tu sam?yuktam kati-prante sa-pattika (Manasara, Chapter, L, 27), vide Prasanna Kumar Acharya, An Encyclopaedia of Hindu Architecture -Manasara series vol. VII, Allahabad 1946, p. 97.

[2]:

Prasanna Kumar Acharya, An Encyclopaedia of Hindu Architecture -Manasara series Allahabad, 1946, vol. VII, p. 500

[3]:

Now kept in Govt. Museum, Chennai, Acc. No. 71-25/37.

[4]:

Ibid., Acc. No. 2558.

[5]:

Ibid., Acc. No. 2608.