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Clothes-Like food to sustain the life, clothing devices were discovered by civilized men both for reasons of hygiene and aesthetics. Clothes are put on the body to protect it from the inclemency of weather and for its artistic decoration. The cultured achievement of civilized individual as well as society is, there fore, more mar edly indicated by the progress in clothing than even in food for which there is not so much publicity possible. But even in most private life the cultural convention and habit demand covering of the body, especially certain parts thereof, the exposure of which even the one's ownself is considered uncivilized The primitive persons and animals do not observe this decency That this decency was keenly felt and invariably observed in the Hindu society is clear from copious instances from the archeological remains of sculptures and paintings and from general literature. From these sources a highly developed artistic sense is also indicated. Thus with the Hindus clothes became a matter of great importance in all walks of life and we shall see evidences that different dresses were prescribed for aifferent persons for private and public wear and civil population and officials. From the references to dress which the earliest literature, Rigveda (of B. C. 2500) contains we may gather that a lower garment and cloak were worn by the civil population of both sexes The upper garment (uttariya) and girdle band (mekhala) appear to have been (f very early use. References to fuller aress of men and women of different ranks and occupations are also not meagre + Mentio is made in the Vedas and Brahmanas of the single piece garment known as dhoti (fcr men) and 1. Otavah and tantavah (Kath. Sam XXIII, 1; Atharva Veda XIV, 2, 51, 1, 45) atarah and prachina tina (taitt Sam VI, 1, 1, 3) Paryasa and annchahada? (Sat, Frah III, 1, 2, 13.)

It was made of It had borders and sri (for women) then called visas. threads constituting warp and woof fingers, and ornamental embroideries'. The closely woven wider border (nivi-anchala in Pengali) is referred to (R.v. II, 53, 2; Av. IV, 2, 51) from which suspends the loose and long unwoven fringe and strikers². The dhoti and s-ri (vasas) had only one border (nivi), the other end being much plainer (which in men's case is tucked behind even at present) to which belonged the chaffs (tusha) or chhilki as it is called now Mention is made of Asoka (Sat. Brah. III, 1, 2, 13), atiraka (Kath Sam XXIII, 1) and alikis (Tat. Sam VI, 1, 1, 3) which are flower, star and spotty patterns embroidered all over the cloth just as now-a-days. For ritual purposes the cloth had to be unbleached and unwashed (Sat Brah. III. 1, 2, 13) but ordinarily it was worn white (R.v VII, 33, 1). Dyed cloths (vaj. Sam XXX 12; tait Brah III, 4, 7, 1) with rich gold thread brocades were affected (warm) by gay young women (Rv. 1, 92, 4 ; X. 1, 6). Red and gold borders are indicated by their comparison with the horizon at sunrise and sun set The house-holder of the Vr tya Group favoured dark blue (Krishna) cloths and borders Pancha Brah XVII, 14-16; Kath. Srauta Sutra XXII, 4).. Out of the plain cloth visas vasana (R v. 1, 95, 7) and vastra (R v. 1, 26, 17) with or without borders, frinzes and colours, varieties of scarfs, veils, cloaks, tight-jackets and bust bodices were made. The manner of wearing is indicated by the cloth (visas) being tied and the girt which implies trucks and knots. The border (n vi) was differently worn. The styles are shown by the elaborate pleats and artistic waste-knots (nivi-bandha) of men and women in the early sculptures as in Ellora and other places, and classical paintings at Ajant and other places, and also in poetry. For instance the Vr tyas displayed the harging ornamental fringe by tucking only one 1. Himya (R. 1, 31. 1), dasa (Sat Brah. III, 3, 2, 9, IV, 2, 2, 11; At Brah VII, 32). 2. Praghata (tat Sam. VI 1, 1, 3; Kath, Sam XXIII, I Sata Bra'. III, 1, 2, 13). For further details v.de Sarkar's Ancient India wherefrom a summary is made here.

corner of it as it is done even now by several people in the United and other Provinces. The nivi knot was so fashioned as to form a pouch wherein magic herb could be borne in (Av. VIII, 6, 20). Women tie their nivi on the right side of the hop, it then being covered by the upper garment. Ushas is said to have a special style of wearing rich brocated cloth displaying her bosom (R v. 1. 92, 4). The upper part of the body of men and women was covered with separate garment, either a loose wrap like upavasana, parya-nahana, adhivas, or tailor made close-fitting jacket bodice, cloak like the pratidhi. drapi, and atka the bride had her upavasana (Av. XIV, 2, 49 & 65) or scarf and veil and the vasas or sari that fluttered high up in the air was an uttariya or scarf (R.v. X, 104, 2). Soma in the ritual had his paryanahana (wrapper) in addition to upinahana (foot wear) and ushnisha (head gear). he gown (adhiv.sana) was an overgarment worn by princes over their inner and outer garments (R.v. V. 1). Its identification is suggested by the simile that forests are anadhivasa of mother earth, thus it implies a long, loose-flowing dressing gown for men and women. The atka and drapi are close-fitting gold embroidered vest both for men and women, atka for only, a long and fully covering closefitting cloak, bright and beautiful, the stuff being bleached cotton, interwoven or embroidered with gold thread. Pratidhi refers to bride's attire consisting of one or two strips, specially made cloth drawn across or crosswise over the bust and tied at the back to serve as a bodice or like the short tight bust-bodice (kanchuliki) of later days. The pesas of the Vedic literature were the originals of peswaz and ghagra of the present day. They were gold embroided cloth generally the design being artistic and intricate, and the inlay of gold heavy and brilliant. The nritu is pleated skirt made of brocated cloth. A large number of head dresses are referred to viz., ushnisha, Sipra, Stupa, Kaparda, Opasa, Sitika, Kurira, Kumbha Jati mauli, Kirita, Karanda, Sirastraka. Kuntala Kesabandha, dhaminidla, aloka, chuda and pattas'. I Vide Manasiara Chap. XI, IX see illustrative plates no,

鈥� 73 The ushnisha is mentioned very early as a characteristic head dress of Vratya chieftain (Av XV, 2, 1) It was worn by kings also. Sipra is mentioned (Rv. V. 54, 11:; VII, 7, 25) as a helmet to be used in battle. Stupa and hiranya-stupa are the conical caps wherefrom the Persian topi and the bridal topara have developed. Kaparda was worn in front on the right side of the head (Rv V 54, 11). Opasa of Indra was like the volt of the heaven (Rv. 1, 173, 6 VIII, 14, 6). Sitika, Kurira, and Kumbha were the hair dresses for women. Regarding the dressing of the sculptural image the standard silpa sastra mentions that the jata (matted hair) and mukuta (diadem) are worn by Brahma and Siva: Kirita and mukuta by N rayana (Vishnu) other minor gods wear Karanda and mukuta. The love goddess Rati wears jata, maulimandala or kuntala. Sarasvati and Savitri put on Kesabandha or kuntala. Among the kings chakravartin and Adhiraya wear Kirita. Narendra puts on Karanda parshnika and sirastraka. Patra-patta is suited to Pattadhara kings, ratna-patta to Parshnika, pushpa patta to Fattadhwaja and pushpamalya (flower wreath) to the Praharaka and Astragraha Kings. The queens of these nine classes of kings put on respectively kuntala, mukuta, kesabandha, dhammilla, alaka, and chuda, the last three queens not being entitled to put on any crown The height of a crown varies with the importance of the divine or royal bearers The number of gold pieces and precious jewels in the crowns also vary in accordance with the importance of the gods, goddesses, kings and queens. Footwear was also not unknown. Padvisa which implies leggings (for a horse) is clearly mentioned (Rv 1, 166, 16). Valurina-pada (Rv. 1, 133, 2) is footguards used by chiefs in battles Upanaha (Av. XX 133, 4; Taith Sam. V. 4, 4, 4; Sat Bra V. 41, 3, 10) is a sandal used in rituals as shoes made of skin, black and pointed. More inferences can be made from the pre-vedic statuary discovered at Mohenjo-daro and the extensive sculptures and painting of the post vedic period. From this source it is sufficiently clear that the priestly dress was different from warrior's garment, and labourer'> 1. Katha Sam. XIII, 10, Tait. Sam. 111, 4, 1, 4; Sat. Brah. III, 3, 2, 3, V 3, 3, 2, 3, 10 XIV, 2, 1, 18 see also Muir Skt. Text IV 4, 3).

loin cloth. In civil life man and woman had different dresses for use at different times. It is not unlikely that the night dress and sleeping suit were different from those used in public and on special occasions. The Vasas both for men and women seem to have been the garment to cover in various manner the lower part of the body The upper part of the body was decorated with simple and tailored dresses. The cloak and overcoat and dressing gown formed the full dress. The headgears and footwears anticipated the twentieth centuries development in dressing made by the most fashionable western countries. This perfection in dress in ancient India must have been preceded by the corresponding development in producing the dress materials, cotton, silk, wool, and skin, as well as weaving and tailoring. Cotton formed the chief material for the textile industry. Its weaving, spinning, darning and dyeing processes have been elaborately described Wool from sheep (avika) was in extensive use. Its preparation is mentioned in detail. Silk is more common than wool; two of its varieties (tarpya and kshauma) are frequently mentioned. Skins of black antelope were in common use. Maruts wore dear-skins. Sages put on brown and tanned skins. Bark dresses are also mentioned. Skirts made of Kusa grass were worn by the sacrificer's wife at the time of certain sacrifice. The indigenous mode of dressing still persists excepting a very small number of government officials and their families to some extent of the Muslim and British periods. The original mode depicted above was no doubt in vogue during some 2000 years between the period of the Vedas and the rule of the Pathans from 12 th Century. The dress is the only thing in our life which has remained least affected by foreign contact Ornaments:-Like clothes references to ormanients to decorate the different parts of the body may be gathered in abundance from the Vedic and post-vedic literature including poetry as well as from sculptures and paintings. Ornaments made mostly of metals and jewels as also of shells with great artistic skill and aesth etic are found to decorate the top head, forehead, ear,

nose, ECONOMIC LIFE OF MATERIAL PROGRESS 75 neck, chest, upper and middle, and lower part of arms, fingers, middle body, waist, ankles and toes. The Mohenjodaro figures ( of BC. 3000) show Cnaments like fillets for the head, ear-rings, necklaces, girdles with beads of carnilian, armlets. finger-rings, and anklets. The rich people made them of gold. The poor had them made of copper, shell, bone and terracotta. In the Vedic literature references are made to the ear-rings (Karnasobhana, Rv. II, 33, 10) garlands for the neck and chest (rukma-vaksha), jewels for the neck (marugriva, Rv 1, 122, 14), bracelets and anklets (Rv. I, 166, 8; V. 54, 11). In the post-Vedic general literature as also in poetical description ornaments for the different parts of the boly are frequently mentioned. A general classification is met with in the technical works like the Silpa-Sastra. The standard treatise, the Manasara (Chap 4) refers to the lists of ornaments in great detail mentioning the method of making them and manner of wearing them. Thus for the decoration of the head of men and women are prescribed, diadem (kirita) of various kinds, fillet for the forehead (Siro-vibhushana), crest-jewel (Chudamani), combs for the hair (chulika) and also other ornaments of the hair, Kesakutaka mallika (of flower pattern), purima worn on the head terminating at ears, small fillets (bala-patta) for the forehead, and star ornament (tilaka) worn between the eye brows. For the ears rings and pendants of various kinds are mentioned, viz. Kundala, tatanka, and makara bhushana For the neck and chest are prescribed chains of 108 strings of pearls (hara) and of 64 strings of pearls (ardhahara), necklace (mala), garlands of wild flower pattern (Vanamala), laces of star pattern (nakshatra mali) made of 27 precious stones corresponding to the number of the stars, and strings (daman) worn round the shoulders. For the arms one prescribed the armlets for the root of the arms (bahu-mula valaya), for the fore arm (prakoshtha-valaya) for upper arms (Keyura, for middlearm (kataka) for fore-arm bracelets made of jewels (manibandha-kalapa) and jewelled wrist-lets (kankana). 1. These are fully illustrated in the Ajanta paintings and Ellora sculptures (See Plate³).

ingers are decorated with simple gold or silver rings (anguliyaka) and jewelled rings (ratnanguliyaka). The middle body is decorated with chords and -chains round the chest (pura-sutra) round the female bosoms (stana-stra) and round the chest of both sexes gold chains (svarra-sutra), girdles round the belly (udarabandha) girdle round the waist (mekhala) chains round the loin (kati-sutra), and golden bodices, jackets, cuirasses (suvarna kanchuka). Legs are also luxuriously decorated with bracelets round the legs, anklets (rupura) of various patterns, and the net ornaments for the fingers and the feet (pida-jalavibh shana). The general literature and poems in particular lend support to the above. Sculptures of Ellora and paintings of Ajanta and other places fully demonstrate these and other ornaments. 路 The artistic skill of these ornaments are recognised even now and rich and fashionable people still take patterns from these ornaments. Even the foreign ladies appreciate their decorative values. The economic prosperity of the ancient Hindus is also demonstrated by these ornaments. Their cultural importance and artistic outlook are obvious.