Natya Shastra and jewellery

In February 2010, I started this blog to share my research about ancient Indian jewellery. Thirteen years later, to the day, here is the backgrounder post for that article tracing the names of jewellery to Natya Shastra.

Natya Shastra

Attributed to Sage Bharatha, Natya Shastra is a compendium on performing arts. It details several aspects of theatrical production, including music, dance, costumes, stage setup and lighting. The Rasa theory as explained in the treatise is crucial to understanding of Indian aesthetics. There are notes on colour mixing and colour theory as well. According to Natya Shastra, the conflict and resolution presented in the on-stage narratives mirror those in society. Therefore, drama can be used to educate and inform the viewers about conflict resolution in society. 

I am yet to read the Natya Shastra in full. However, I have read the parts about āhāryābhinaya or extraneous representation, particularly the chapter on costumes and makeup. Abhinaya refers to expression or representation/presentation. Aaharya is that aspect of abhinaya which describes a performer’s costumes, make-up, and jewellery.

Extraneous representation

Extraneous representation can be achieved by four means. They are Pustha (props), Alamkara (adornment), anga rachana (painting of the limbs) and Sanjiva (working with living creatures). Natya Shastra says that dress is clothing, jewellery, accessories, makeup, and body modification, including hairdressing and grooming. This is the contemporary definition of the word “dress” as well. What a performer wears depends on the character they play, the performance requirements, and the performer’s physicality.

“Upon donning the look, he assumes the role and portrays the nature of the character he represents. Just like a man who transforms himself into an animal by sincerely uttering mantras, an actor renounces his nature and adopts the one that his dress represents.”

This showcases the power of clothing and adornment.

Kampani Kalam Paintings – dancing girl with three musicians CA 1800 | Tamil dancing girl, Madras or Tanjore, ca. 1780 – ca. 1800 | V&A museum[/caption]

Natya Shastra and Jewellery

The 23rd chapter specifies guidelines for traditional aaharyam.  It also forms the basis of conventional jewellery classification in India. The “four categories of ornaments, as per Natya Shastra, are
• Avedhya – ornaments are worn by piercing the limbs – e.g. Earrings – Kundala
• Bhandaniya – ornaments that are to be tied – e.g. girdles – Stronisutra, arm bands – Angada
• Praksepya – to be worn– e.g. anklets – nupura. This category includes all types of apparel that are to be worn
• Aropya – to be put around– e.g. necklaces – hemsutra, hara

Types of characters and their ornamentation

Each race and the ethnic group must be dressed in a way that differentiates one another. The angelic Apsaras and Yaksha who guard wealth must wear plenty of jewellery, while the women who act as scholars and daughters of saints should be ornamented with simple flowers. Female characters of different races and backgrounds wear different gemstones. The Rakshasa women wear black clothing and blue sapphires in contrast with the Gandharva women, who wear saffron clothes and rubies. The Siddha women wear emeralds and pearls while divine female monkeys wear topaz and lapis lazuli. 

Head to toe Ornaments worn by male performers acting as Gods and Kings.

Since the terms are in Sanskrit, I have tried my best to explain rather than translate the terms.

• Head – Chudamani (Crest jewel), mukuta (crown), 
• Ear – Kundala – (hoop earring worn in the lower lobe of the ears), mochaka (earring worn in a piercing in the middle of the ears),  kila ear tops
• Neck – Muktavali – pearl necklace, Harsaka – snake-shaped ornament, hemasutra – gold chain
• Chest – trisara – three strand necklace (long pearl necklace worn till the navel)
• Waist – Tarala, Sutra – thread to be worn below the tarala
• Arm – angada (serpentine armband), keyura (armlet).
• Forearm – Hastavi, Valaya or bahu nali or baalu  – bangle
• Hands- kataka (cuff), vatika
• Wrist –Rucika,  Uccitika (bracelets of differents forms)
• Finger – anguliya (rings)

Head-to-toe ornaments for women

• Head – Sikhapasha, Shikajala/Sirsajala (hairnet or mesh of beads or wire), Pindapatra, Kandapatra, Chudamani– Crest jewel, Makarika, Mukta jala (pearl hair net), Gavaska, 
• Forehead – Tilaka (floral bindi like mark)
• Ear – Kundala – hoop earring, Sikhipatra, Kadgapatra, the braid of hair, mochaka, Karnika, Karnavalaya. Patrakarnika, karnamudra, Karnotilaka– ear tops, dantapatras (ivory?), karnapura
• Neck – Muktavali (pearl necklace), Harsaka (snake shaped ornament), kanaka Sutra (thread like gold chain), Ratnamalika – small gem studded necklace, Ratnavali (larger gem necklace). These necklaces can be dvisara, trisara and catursara – 2, 3, or 4 stringed. Goddesses must be adorned wit h32, 64 or 108 strands of beads or pearls.
• Breast ornament – Triveni, ratnakirta (opulent gem necklace), prasta vibhushana (jewelled net for breasts or back)
• Arm/ hand – angada- armband, Valaya (bangle), Ananta – serpentine bangle
• Forearm – varjura, Svechittika
• Finger – kalasaka,hastapatra (plate like ring), hastasutra (string like ring), supuraka, rings – mudraanguliyaka (crest or signet ring)
• Waist – Tarala, Sutra – thread to be worn below the tarala
• Hip – Kanchi (1 string girdle), Mekala (8 string girdle), Rasana (16), Kalapa (25) Kulaka (girdle) – net of pearls worn with Kanchi.  What is mentioned as girdle could be a hip belt or hip chain.
• Ankle – Nupura, Kinkini, Ratnajala – mesh of gems, Kataka – silambu with gemstones
• Toes – pada Patra (toe rings)

While Natya Shastra explains jewellery and costumes worn by performs in detail. It is not the only Indian text to do so. Shilpa Shastra explains how these costumes and jewellery must be sculpted. The other ancient source of knowledge on these topics is the Tamil Epic Silappathikaram, attributed to Ilango Adigal, written in the 5th century CE. Find my account of the description of Madhavi’s jewellery in Silappathikaram here.

References

Bharata Muni. Natya Shastra (with English Translations). Translated by Manomohan Ghosh. Calcutta: Asiatic Society of Bengal, 1951. Bharata Muni. 1985. Nāṭya – shāstra. Patiala: Punjab University.

A special thank you to all the readers, contributors, sponsors, and patrons who have helped sustain this blog for thirteen years! This blog has taught me to trust my instinct and share my love for jewellery with the world. My life is better with jewellery and blogging in it. So I say, Happy Blogiversary to myself and to those of you who read this blog!

I hope you find it interesting
Cheers