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Costumes and ornaments play an important role in measuring the growth of material culture of humankind. As mentioned in the introduction, some religious beliefs and social customs compelled men and women to wear certain dresses and ornaments and also to abstain from the use of some, as demanded by situation. Yet, ultimately dress and drapery are symbols of the passion of human kind towards the physical world.

Literary works of Sanskrit, which can be classified in to three periods namely Vedic, 厂奴迟谤补 and classical are rich sources of information regarding the cosmetics, costumes and ornaments of the Indian people of the respective periods. The references therein are a reflection of the artistic sense and the sense of beauty of the people who desired cultural upliftment. They give indications regarding the differences in dress and drapery on the basis of climate, region, time, gender, caste and economic status.

From the references in Vedic literature, we can infer that contemporary society recognised the importance of dress and because of that dressed elegently. A well dressed person was respected in the society even in those days. Certain 峁歡vedic terms like Seraphim, Suv膩sas etc. represent a well dressed person. Deities like 痴补谤耻峁嘺, 笔耻峁Ｄ� and U峁�as are described as wearing gorgeous clothoes at many places in 峁欢惫别诲补. 艢补迟补辫补迟丑补-产谤腻丑尘补峁嘺 also mentions the need of civilized to wear some types of clothes^[1].

The case is not very much different in that of cosmetics and ornaments also. There is a 峁歡vedic hymn, which indicates that people use ornaments to enhance beauty^[2]. The special affinity of women towards cosmetics is discernable from certain 厂奴办迟补蝉 in Atharvaveda

There are no clear evidences regarding the making of garments and ornaments during this period; yet certain technical terms related to their production are used here and there. Similarly direct references are lacking to prove the existence of a society who were experts in the production of garments and ornaments, but adjectives of some deities indicate the existence of such a society. For e.g. in one place in 峁欢惫别诲补, the god 笔耻峁Ｄ� is known by the name V膩sov膩ya. There in another context, the day and night are compared to two women weavers, who engaged in weaving by interlacing the long thread between them. There is mention in 峁欢惫别诲补 about persons who are very dedicatedly involved in making ornaments.

No special references are present in Vedic literature about the trade and commerce of garments and ornaments. But an invocational hymn in Atharvaveda in the form of a prayer requesting prosperity in business, can be regarded as covering all business transactions. Moreover certain references in 峁欢惫别诲补 stating that countries like 骋腻苍诲丑腻谤补 and Paru峁ａ箛i are famous for wooll, can be regarded as corroborating evidences.

In Vedic period materials which are not mentioned in other periods such as 笔墨濒耻, Nalada, Pramandin墨 etc. were used for making cosmetics. This does not mean that materials like Candana, Aguru and 碍耻峁卥耻尘补 were not used for making them. The ornaments of this period were made up of flowers, beads and metals. Jewels are mentioned, but their use was relatively low. Clothes were mainly of barks, wool, linen and skin. Silk garments like 顿耻办奴濒补 and 础峁兣泆办补 are not mentioned. In those days linen clothes were included among silk clothes.

顿丑补谤尘补蝉奴迟谤补蝉, 骋峁沨测补蝉奴迟谤补蝉, 础峁ａ弓腻诲丑测腻测墨 etc. are the literary works that are helpful for understanding the Indian society in the next period namely 厂奴迟谤补 period. In contrast to Vedic period, jewel and cloth industry were in a highly developed state. There are clear references to social groups like embroiders, weavers, tailors, dyers, washermen, goldsmiths, gem cutters and beauticians. In addition to clothes of bark, wool, skin and linen, silk clothes were also in vogue. Ornaments were not only of flowers and metals, but jewel ornaments are also mentioned in this period. Even though the society was much more progressed in 厂奴迟谤补 period than that of Vedic period, it also kept some conventions, customs and laws regarding the use of clothes and ornaments as formulated in 顿丑补谤尘补艣腻蝉迟谤补蝉 and 厂尘峁泃颈蝉.

We see the picture of luxury at its zenith in the classical period. This is also seen in the case of cosmetics and costumes. The external influences on dress and ornaments are also seen in this period. Certain references in 惭补丑腻产丑腻谤补迟补 and 碍补耻峁璱濒墨测补 础谤迟丑补艣腻蝉迟谤补 are clear evidences to these external influences. Making of cosmetics, costumes and ornaments is considered more as an art than as a vocation in the classical period. Texts like 碍补耻峁璱濒墨测补 础谤迟丑补艣腻蝉迟谤补 and 叠峁沨补迟蝉补峁僪颈迟腻 give ample evidences to the existence of well developed textile and jewel industries.

One thing becomes clear when we examine the literary works of these three periods. There were certain basic similarities among the costumes and oenaments of all the periods; but people modified the shape or mode of usage based on their own tastes or external influences.

In short, these descriptions regarding the cosmetics,costumes and ornaments of ancient India are footprints of their traditional history. If we compare them with our present day practices, these traditions can be seen to be followed in a subtle way.

Human beings are always fascinated by dress and drapery. On acount of this fascination, artisans and craftsmen give variety and beauty to the costumes based on the times and their own imagination. It is difficult to identify all the costumes and ornaments mentioned in Sanskrit literature. Yet we can hope that the available information will help to make more studies in this field.

Footnotes and references:

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[1]:

IC, p.192

[2]:

X.77.2