Any account of historical
Indian costumes runs into serious difficulties not for want of literary
evidence or of archaeological and visual materials: of both of these there
is a fair measure that is available. The difficulty arises when one tries
to collate the information that can be culled from these sources. The descriptions
in literary works, for all their great poetic beauty and elegance, are,
in the nature of things, not precise and one has to guess and reconstruct.
Sometimes the descriptions are so general that they can fit more than one
costume quite different from each other. All this is not to say that a
broad, general idea cannot be formed of the kinds of costumes worn in the
ancient, medieval or the late medieval periods in India. What one is denied
is the possibility of going into the many subtleties that Indian costumes
possess. Their range is remarkably wide, according to the great size of
the country, and geographical differences, and the bewildering diversity
of its ethnic groups is added the complex factor of the coming in, at regular
intervals, of foreign peoples into India at different periods of time and
in varying numbers. The costumes that these people brought along did not
stay necessarily apart from the mainstream of Indian dresses - that one
could have dealt with - but, with the Indian genius for adaptation and
modification, these costumes become altered, even metamorphosed, and eventually
assimilated to the broad, native Indian range of dress. One has, therefore,
to sift and isolate, and then relate and bring together, the evidence available
which is not the easiest of tasks in the context of Indian history where
material culture does not always get the attention it does elsewhere. Through
sharp analysis of Sanskrit, Prakrit, and Hindi, as much as Arabic and Persian
sources, they have brought within reach a rich body of material. The inherent
difficulty in the matter of interpreting this material and relating it
to surviving archaeological and visual evidence naturally leaves some matters
obscure, and others open to controversy. But a very substantial body of
information has been collected.
A question that needs to
be disposed of rather early is whether, in the indigenous Indian tradition,
stitched garments were known or used at all. From time to time statements
have been made that the art of sewing was unknown to the early Indians,
and that it was an import from outside. Serious and early students of Indian
costumes, like Forbes Watson, have stated, mostly on the authority of other
scholars, that the art of sewing came to India only with the coming of
the Muslims.' This statement needs no longer to be taken seriously. As
has been established, not only was the needle and its use known to Indians
from the very beginning of the historic periods that we know of; the art
of sewing was practised, and one comes upon clear and early references
to stitched garments that leave very little doubt about the matter.' It
is possible that the view that "before the invasion of India by the Mohammedans,
the art of sewing was not practiced there" was formed not on the basis
of any historical or scholarly inquiry into this matte but simply 'observation':
observation of the dresses of two different categories of people, those
who were far more rooted in the Indian soil and could thus be taken as
representing the long Indian tradition of wearing costumes in a particular
fashion, and those who could be linked with outsiders' who came to India
late, and visibly preferred different kinds of dresses. This observation
could only have been superficial; besides, clear distinction needs to be
made between the knowledge of, and the use of, sewing. It is possible perhaps
also to draw a distinction between what, in the Indian context, can be
designated as "timeless" costumes, and those that are time bound". The
'timeless' Indian dress of men, thus, consists of garments that use no
stitching, garments in other words that, as Forbes Watson says, "leave
the loom, ready for wear". The Dhoti, the Scarf or Uttariya, and the Turban,
which have never really disappeared from any part of India, belong to this
category, and their marked visibility in India could have led one erroneously
to conclude that the early Indians did not use any sewn garments. Likewise,
for women, the Dhoti or the Sari as the lower garments, combined with a
Stanapatta or breast-band for covering the breasts, forms a basic ensemble,
and once again consists of garments that do not have to be stitched, the
breast garment being simply fastened in a knot at the back. And the Dhoti
or the Sari worn covering both legs at the same time or, in the alternative,
with one end of it passed between the legs and tucked at the back in the
fashion that is still prevalent in large area of India.
But the preference of Indian
men and women for these garments, rational and understandable in the context
of the generally hot Indian climate, does not afford any proof that for
long periods of time the Indians knew no other garments than those which
"left the loom, ready for wear".
It is not easy to make out
everything in Alberuni's description, but there is little doubt that he
is referring to a dhoti when he speaks of 'turbans used for trousers',
and a kaupina when he is speaking of 'a rag of two fingers' breadth bound
over the loins. But the amusing reference to 'trousers lined with as much
cotton as would suffice to make a number of counterpanes and saddle rugs'
is not easy to make out. Possibly he is referring to dhotis of considerable
length and fullness that were tucked between the legs and at the waist
behind.
Similar problems arise with
the accounts of Chinese writers. Wherever they speak of costume, not too
much is added to our information although there is much precision and detail
when it comes to their description of the trade in textiles from different
parts of the country. This is understandable because one of the principal
concerns of the many travellers to India was trade precisely of this kind,
sometimes in these very materials. All the same, the information made available
is not without interest, and one notices carefully the comment of someone
like Chau j ' u-kua, the inspector of foreign trade in Fu-kien in the 12th
century, concerning the dress worn by the ruler of Malabar: -"The ruler
of the country has his body draped, but goes bare-footed. He wears a turban
and a loin-cloth both of white cotton cloth. Sometimes he wears a white
cotton shirt with narrow sleeves".
The period of the Sultanates
in northern India is marked, once again, by much interest, both on the
part of the Indian writers, and of the newly arrived Muslims in matters
concerning fabrics and dyes and costumes. But the earlier difficulty of
accurately interpreting this information persists, for even though long
lists become available, these remain confined to names for which we have
no pictorial equivalents in the matter of costumes, and no analytical descriptions
in respect of fabrics and the like - in the paintings from the Sultanate
period, an area in which our knowledge has increased remarkably in the
last quarter of a century or so, there is much that one can observe, but
to give precise names to costumes still remains difficult. One can at best
try and find relationships between terms for costumes or verbal descriptions,
and the dresses that we see men and women wearing in Sultanate period paintings,
whether of the Indo-Persian style or those that we associate with western
India, principally Jaina paintings produced in Gujarat and Rajasthan. When
one makes the effort, however, interesting results sometimes emerge. Thus,
in the paintings of the Laur Chanda in the Prince of Wales Museum of Bombay,
or the Aranyaka Parva of the Asiatic Society of Bombay, or the recently
discovered Devi Mabatntya in the Himachal Pradesh Museum at Simla, the
long-sleeved kutia-like garments made of fine cotton material, with fastenings
at the right or the left, come remarkably close to the early description
by Alberuni of the kurtakas worn by Indians which have lappets with 'slashes'
both on the right and the left sides. But this kind of close correspondence
is not always easy to establish in other articles.
The Varna-ratnakara of jyotirishvara
of the early 14th century, the Prithvichanda-charita also of the 14th or
15th century, and the compilation by Sandesara, the Varnaka~Samuccaya,
have remarkably long and detailed lists of stuffs known to India in that
period, but there is no correspondingly detailed information on costumes.
An interesting development at the same time is that certain Persian writers,-
including Amir Khusrau, begin using Hindi words, or words of the vernaculars,
in their descriptions of Indian fabrics. in his usual engaging style, thus,
Khusrau speaks of 'cloths that redeem the past life, decoration of the
person and ornament of the body likejbanbariali and bibari - that are like
a pleasant gift of a springtide and sit as lightly on the body as moonlight
on the tulip or dew drops on the morning rose'. Khusrau's enthusiasm for
Indian fabrics, especially the fine muslin's manufactured in Deogiri, far
exceeds his notions of precision in the matter of description, but whatever
he says is never without interest. Thus, writing of Deogiri in A.D. 1322,
he says:" 12
The fineness of its cloths
is difficult to describe; the skin of the moon removed by the executioner
star would not be so fine. One would compare it with a drop of water if
that drop fell against nature, from the fount of the sun. A hundred yard
of it can pass the eye of a needle, so fine is its texture, and yet the
point of the steel needle can pierce through it with difficulty. It is
so transparent and light that it looks as if one is in no dress at all
but has only smeared the body with pure water.
When it comes to a description
of the costumes worn by the Sultans or the notables at any of the Islamic
courts of north India, the flavour changes completely, for the writers,
nearly all of them Muslims of foreign extraction, suddenly seem to move
into a world of terms and articles that they are familiar with. Thus, while
ibn Batutah might write in very general terms of the costumes worn by Indian
women ('the women of this city and of the whole coast do not wear sewn
cloths but only unsewn garments. They form a girdle with one of the extremities
of the garment and cover their heads and breasts with the other.), the
description by Umari of the dresses worn by the notables of Delhi suddenly
becomes animated and more vivid:"
The linen garments which
are imported from Alexandria and the land of the Russians are worn only
by those whom the Sultan honours with them. The others wear tunics and
robes of fine cotton. The make garments with this material which resembles
the robes (makati) of Baghdad. But these latter as also those called wasafi
differ very much from those of India as regards fineness, beauty of colour
and delicacy.
Most of their Tartar (Attar)
robes are embroidered with gold (muzarkasa bi-dhabab). Some wear garments
with both sleeves having a tiraz border of gold embroidery (zarkasb). Others,
for example the Mongols, place the tiraz inscription between the shoulders.
It is in this very strain
that we have other descriptions from this period, Firuz Shah T'Ughlaq and
his courtiers wearing different kinds of dresses. The Sultan himself is
said to have worn a kulab costing a lac of tankas which once belonged to
his predecessor. In public audience, he is said to have worn a barani with
embroidered sleeves, but in private he wore a shirt. The officers are said
to be wearing silken robes in public and shirts in private life. Again
the Amirs and the Maliks and other officers at the Sultanate courts are
described as wearing "gowns (tatailyat),jakalwat and Islamic qabas of Khawarizm
tucked in the middle of the body" and short turbans which did not exceed
five or six forearms. Of other Amirs we learn that they were as well dressed
"as the soldiers except that they did not use belts and at times they let
down a piece of cloth in front of them after the manner of the sups. The
judges and the learned men wore ample gowns (farajiyat) that resembled
jaradiyat (striped material from jand, Yemen) and an Arabic garment (durra)
(a garment opening in front and buttoned)
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