CHAPTER TWENTYTHREE

THE COSTUMES AND MAKE-UP

Necessity of the Costumes and Make-up

1. I shall similarly speak in due order, O Brahmins, about the Costumes and Make-up; for the production [of a play] depends on this¹.

2. The Extraneous Representation (āhāryābhinaya) deals with the rules of the Costumes and Make-up (nepathya)². Anyone who wishes for the success (lit. well-being) of a dramatic production should pay attention to these¹.

3. The dramatis personae are of different types¹. Indicated first² by their Costumes and Make-up they accomplish the representation without much effort by means of Gestures and the like.

Four kinds of the Costumes and Make-up

4. The Costumes and Make-up (nepathya) are of four kinds: model work (pusta)¹, decoration (alaṃkāra), painting the limbs (aṅga-racanā) and living creatures (sañjīva).

The four kinds of model-work

5. [Of these] the model-work is of three kinds and of various forms. They are: the Joined Object (sandhima), the Indicating Object (vyājima) and the Wrapped Object (veṣṭima)¹.

6. The model work which is made up of mat, cloth, skin and the like, is called the Joined Object (sandhima)¹.

---

1 (C.1; K.XXI.1). ¹ K. reads 1b differently.
2 (C.2; K.XXI.3). ¹ C. reads after this an additional couplet.
3 (C.4; K.XXI.2). ¹ Nānāvastha—nānābhūtā yā śokādyā nānābhūtāśrayāś ca (Ag. p. 429).
² Read pūrvam (pūrva, C.) nepathya-sūcitaḥ (sūcikaḥ, C. sādhitāḥ)
4 (C.5; K.XXI.4). ¹ K. mukta for pusta.
² K. nāṭyāṅga-racanā for tathāṅga-racanā.
5 (C.6; K.XXI.5). ¹ Ceṣṭimaḥ, C. for veṣṭimaḥ, K.
6 (C.7; K.XXI.6). ¹ Sandhimaḥ—sandhānatayā nirvṛttaḥ (Ag. p. 429).

.XXIII. 12] THE COSTUMES AND MAKE-UP 411

7. That which is made by means of a mechanical device (yantra) is called an Indicating Object (vyājima)$^1$ and that which is produced by wrapping, is called a Wrapped Object (veṣṭima)$^2$.

8. Hills, carriages, lofty palaces, shields, armours, banner-staffs and elephants$^1$ which are constructed for use in a dramatic performance are called model-works (pusta).

Decorations

9. Decorations (alaṃkāra) are known to consist of flower-garlands, ornaments and drapery which are differently used on different parts of the [human] body.

Garlands

10. Garlands are of five kinds : encircling (veṣṭita)$^1$, spread-up (vitata), grouped (saṃghāya)$^2$, tied-round (granthima), and hung-down (pralambita).

Four kinds of ornament

11. Ornaments of the body are known by the wise to be of the four kinds : that to be fixed by piercing the limbs (āvedhya)$^1$, that to be tied up (bandhanīya), that to be worn (prakṣepya), and that to be put round (āropya)$^2$.

Piercing ornaments

12. [Of these, the ornaments] to be fixed by piercing the limbs are ear-rings (kuṇḍala) and other ear ornaments$^1$.

Tied-up ornaments

And those to be tied-up (bandhanīya) are the girdles (śroṇī-sūtra) and the Aṅgada (arm-band).

---

7 (C.8; K.XXI.7). $^1$ Vyājimaḥ—vyājaḥ sūtrasyākarṣākādirūpaḥ kṣepas tena nirvṛtto vyājimaḥ (Ag. p. 430).
$^2$ Read 7b as वेष्टातै नैव यद्रूप वेष्टिमं स तु संचितः. Ag. (p. 430) explains veṣṭimaḥ as follows : upari jatu-sikstādinā veṣṭanena nirvṛtto veṣṭimaḥ.
8 (C.9; M.XXI.8). $^1$ Emend nagāḥ into nāgāḥ.
9 (C.10; K.XXI.9).
10 (C.11; K.XXI.10). $^1$ C. ceṣṭitam.
$^2$ K. tepitam for saṃghātya. Ag. with C.
11 (C.12; K.XXI. 11). $^1$ C. āvedya.
$^2$ K. āropyaka, C. āropaka.
12 (C.13; K.XXI.12). $^1$ The reading of 12b seems to be slightly corrupt.

412 THE NATYASASTRA [ XXIII, 13-

Worn ornaments

13. The ornaments to be worn (prakṣepya) are the anklets (nūpura) as well as the wearing apparels.

Put-round ornaments

And those [ornaments] to be put round (āropya) are the golden neck-chain (hemasūtra) and necklaces (hāra) of different kinds.

Ornaments according to habitation and tribal origin

14. I shall now speak of the varieties of ornaments of men and women according to their habitation and tribal origin.

Ornaments for males :
Head ornaments

15. The crest-jewel (cūḍāmaṇi)¹ and the crown (mukuṭa)² are called ornaments of the head.

Ear ornaments

And the ear-ring (kuṇḍala)³, Mocaka (ear-pendant)⁴ and ear-top (kīla) are ornaments of the ears.

Neck ornaments

16. The pearl-necklace (muktāvalī) the Harṣaka¹ and the [gold] thread (sūtra)² are ornaments of the neck.

---

13 (C.14; K.XXI.13).
14 (C.15; K.XXI.14).
15 (C.16; KXXI.15). ¹ To be worn on the top of the head. Cūḍāmaṇiḥ śiromadhye (Ag. p. 430).
² To be worn above the forehead. Mukuṭo lalāṭordhve (Ag. l.c.).
³ To be worn in the lower lobe of the ear. Kuṇḍalam adhara-pālyām (Ag. l.c.).
⁴ To be worn in the hole in the middle of the ear. Mocakaḥ karṇaśaṣkulyā madhyacchidre uttara-karṇiketi prasiddham (Ag. l.c.).
16 (C.17; K.XXI.16). ¹ harṣaka—a snake-shaped ornament, samudgata-sarpādi rūpatayā prasiddham. (Ag. l.c.).
² Sūtram—golden neck-chain, sūtrakam iti guccha-grīvā-sūtrāditayā prasiddham (Ag. l.c.).
³ Kaṭakaḥ (vaṭikā, K.). Ag. (l.c.) reads the term differently. He says vetiketi sūkṣmakaṭaka-rūpā.
⁴ Aṅguli-mudrā—In later times the two members of this compound word (aṅguliya and mudrā) gave rise to two different synonyms for the object (ring) denoted by it.

-XXIII. 19 ] THE COSTUMES AND MAKE-UP 413

Finger ornaments

And the Kaṭaka [Vaṭikā]⁴ and the finger-ring (aṅgulīya-mudrā) are ornaments of the finger.

Ornament of the forearm

17. The Hastavī¹ and the Valaya² are the ornaments of the fore-arm (bāhu-nālī).

Wrist ornaments

And the bracelet (rucika)³ and the Uccitikā⁴ are ornaments of the wrist.

Ornaments above the elbow

18. The Keyūra (armlet)¹ and the Aṅgada (arm-band)² are ornaments to be worn above the elbow.

Breast ornaments

And the three-stringed necklace (trisara)³ is the ornament of the breast.

19. The suspended pearl necklace, the flower-garland and the like, are ornaments for the [entire] body.

Waist ornaments

And the Tarala¹ and the golden thread (sūtra)² are ornaments of the waist.

---

17 (C.18). ¹ This is seems to be very rarely mentioned in Skt. literature.
² This word is the same as Bengali bālu (bangle).
³ This seems to be a variant of the word rucaka. See note 4 below.
⁴ This word seems to be never met with elsewhere. Ag.'s fragmentary gloss on this word or rucaka is as follows : * * cakra iti karagolake vitatāṃ tata ūrdhve cūliketi prasiddhau (?) niṣkuke agrabāhu-sthāne etat [vibhū]-ṣaṇam (p. 430).
18 (C.19, K.XXI.17). ¹ To be worn above the elbow. Keyūre karpara (kūrpara)-syordhvataḥ (Ag.l.c.), but ke bāhuśīrṣe yauti iti keyūram, Kṣīrasvāmin on Amara II. 6,107.
² To be worn above the keyūra. Tayor (=keyūrayor) ūrdhve tv aṅgadam (Ag. l.c.).
³ Trisara—trisaro muktālatātrayeṇa (Ag. l.c.).
19 (C.20; K.XXI.18). ¹ To be worn below the navel ; ta[ra]lakaṃ nābher ataḥ (Ag. l.c.)
² To be worn below the taralaka. Tasyāpyadhaḥ sūtrakam (Ag. l.c.).

414 | THE NATYASASTRA | [XXIII. 20-

20. These are the ornaments for males in case of the gods and the kings. I shall now speak about the ornaments for females.

Ornaments for females

Head ornaments

21-22. The Śikhāpāśa¹, the Śikhājāla², the Piṇḍapātra³ (Khaṇḍapātra), the Crest Jewel (cūḍāmaṇi)⁴, the Makarikā⁵, the pearl-net (muktā-jāla)⁶ the Gavākṣa⁷ and the hair-net (śīrṣajāla) are ornaments of the head.

22-23. The Tilaka on the forehead should be produced by many artistic touches, and group of design above the eyebrows should imitate flowers.

Ear ornaments

23-25. The ornaments of the ear are the Kuṇḍala, the Śikhipatra¹ (Khaḍgapatra), the braid [of hairs], the lotus² and the Mocaka³ the Karṇikā⁴, the Karṇavalaya⁵, the Patrakarṇikā⁶, the Karṇamudrā⁷ that entwines the ear, the Karṇotkīlakā (ear-top),

---

20 (C.21; K.XXI.19).

21-22 (C.22-23a; K.XXI.20-21a). ¹ This is same as cūlāpāśa mentioned in Megha, II. 2.

² Ag. (p. 431) reads it as śikhāvyāla and explains this as nigagranthibhir upānibaddho madhyekarṇikā-sthānīyam, and adds to explain piṇḍipātra (= piṇḍapātra) as tasyaiva dalasandhānatayā citra-vacanāni (?) vartulāni patrāṇi piṇḍipātrāṇi. ³ See note 2 above.

⁴ The same as mentioned in 15 above.

⁵ Ag. reads this makarapatram.

⁶ This is the same word which occurs in Megha, I. 64.

⁷ No head ornament with this name seems to occur anywhere else.

22-23 (C.24; K.XXII.21b-22a).

23-25 (C.23b, 25-26; K,XXII. 21a, 22b-24).

¹ Ag. (l.c.) reads śikhāpatra and explains this as śikhāpatra mayūrapicchākāro vicitravarṇa-maṇi-racitaḥ.

² guccha. K. for kañja. C. ³ Rocaka, C. and dārakaḥ K.

⁴ This was never met with before.

⁵ This is perhaps the sames as mod. Bengali kānbālā<•kānbalā< kaṇṇavalaa< karṇavalaya.

⁶ This was never met with before.

⁷ This ornament is still in use among women of backward classes.

-XXIII. 27 ] THE COSTUMES AND MAKE-UP 415

the various kinds of the Dantapatras⁸ set with jewels and the Karṇapūra⁹.

The Tilaka and the Patralekhā¹⁰ are ornaments of the cheeks¹¹.

Neck ornaments

26. The pearl-necklace, the snake-group (vyāla-paṅkti)¹, the Mañjarī², the jewel-string³ the jewel-necklace⁴ and the neck-chain (sūtra)⁵ are ornaments of the neck.

27. The necklace with two, three or four strings as well as a [gold] chain is the ornament of the neck¹.

---

⁸ These were possibly made with ivory.
⁹ The well-known ear ornament.
¹⁰ The same as patrabhaṅga (drawing decorative designs with scented pigments).
¹¹ C. reads after this four additional and somewhat corrupt couplets ((C.27b-31a) which may be tentatively translated as follows: And the triveṇī is to be known as the ornament of the breast. The two eyes are to be touched with collyrium, and the lips are also to be painted. The four front teeth (of the upper and the lower rows) are to have varying colours as well as whiteness. When covered with artificial colours their beauty is enhanced. Pearl-like teeth of beautiful young women embellish their smile, and dyed with the colour of lotus petals they will be lovely, and when dyed with emerald colour the lips will attain the beauty of tender leaves. And their amorous look will constitute their charms
26 (C.31b-32a; K-XXI.25). ¹ An ornament with the snake-motif; see above 16 note 1. This was never met with before.
² Mañjarī—This was never met with before.
³ Ratnamālikā—This is to be distinguished from ratnāvalī (see note 4 below) which is a bigger necklace; for the word mālikā means a small mālā.
⁴ Ratnāvalī—See note 3 above.
⁵ Sūtra (lit. thread) evidently means a thin thread-like necklace made of gold; cf. kanakasūtra in Pañcatantra I. (vāyasa-dampati-kathā).
27 (C.32b-33a). ¹ K. omits this passage. The terms like dvisara (wrongly dvirasa), trisara (wrongly trirasa) and catu-sara (wrongly catūrasa) mean respectively necklaces with two, three and four strings.

416 THE NATYASASTRA [XXIII. 28

Breast ornaments

28. The necklaces with the most artistic work¹ are to be ornaments of the breasts.

The jewelled net is the ornament of the breasts (or the back)².

Arm ornaments

29. The arm-band (aṅgada)¹ and the bangles (valaya)² are ornaments of upper (lit. the root of the) arms.

The Varjura³ and the Svecchitikā⁴ are ornaments of the fore-arm.

Finger ornaments

30. The Kaṭaka¹, the Kalaśākha², the Hastapatra³, the Supūraka⁴ and the ring (mudrāṅgulīyaka)⁵ are ornaments of fingers.

Hip ornaments

31. The Kāñcī¹ with a net of pearls, the Kulaka, Mekhalā, the Raśanā and the Kalāpa are ornaments of the hip (śroṇī).

32. The Kāñcī is [a girdle] of one string, the Mekhalā of eight, the Raśanā of sixteen and the Kalāpa¹ of twenty-five strings.

---

28 (C. 33b-34a; K.XXI.26). ¹ nānā-ratnakṛta (in K.) meaning 'made up of many jewels'.
² Pṛṣṭha-vibhūṣaṇa (in K.) meaning 'ornaments of the back'.
29 (C.34b-35a; K.XXI.28b, 28a). ¹ K's reading is corrupt. See above 18 note 2.
² It is now-a-days called ananta in Bengal. Kālidāsa's Yakṣa (Megha, I. 2) had a kind of valaya in his prakoṣṭha (fore-arm).
³ This seems to connected with the bāju still in use among women of rural areas in Bengal.
⁴ Svecchitikā—This was not heard of before.
30 (C.35b-36a; K.XXI.27b, 27a). ¹ K. reads of 30a as śaṅkha-kalāpī. kaṭakaṁ tathā syāt patrapūrakam. Kaṭaka is usually met with in the sense of an ornament of the wrists. ² This was never met with before.
³ This was never met with before. There is however an ornament hasta-sūtra (Apte). ⁴ This was not met with before.
31 (C.36bc; K.XXI.29). ¹ K. reads 31a differently. All the ornaments except kulaka have been defined in 32 below. Kulaka seems to be a girdle of the special kind.
32 (C.37; K.XXI.30). ¹ Kalāpa seems to have been used by Kālidāsa in the sense of a necklace (Kumāra I. 42).

-XXIII. 40] THE COSTUMES AND MAEKE-UP 417

33. The pearl necklace of the goddesses and the queens are of thirtytwo, sixtyfour or one hundred and eight strings.

Ornaments of the ankles

34. The Nūpura, the Kiṅkiṇī, the Jewel-net (ratnajāla)$^1$ and the ringing Kaṭaka are the ornaments on the ankles.

35. The Pāda-patra is the ornament of the shanks (jaṅghā) and the toe-rings that of the toes, and the Tilaka on the big toe are ornaments of the feet.

36. Similarly [an additional decoration of the feet] will be the lac-dye applied on them in various patterns to impart to them the natural colour of Aśoka blossoms.

37. These are the decorations of women from the hair to nails [of the feet]$^1$. Considering the States and the Sentiments these are to be applied [in different parts of the body].

38. These ornaments (lit. works) having their origin in Viśvakarman$^2$ are to applied also after a consideration of the tradition (āgama), measurements [of the wearer] and her physical form.

39. [In dramatic production] one is not entitled to decorate the limbs freely and at one's will, with gold, pearls and jewels.

40. Utilised on account of wealth$^1$, the jewelled ornaments put on in proper places will lend beauty to the limbs$^2$.

---

33 (C.38, K.XXI.31).

34 (C.39, K.XXI.32). $^1$ K. reads ghaṇṭika lālam evā ca.
$^2$ Hollow bangles within which small stone bits are lodged.

35 (C.40; K.XXI.33). $^1$ C. reads jaṅghayoḥ for padayoḥ.
$^2$ This was never met with before. Ag. (p. 431) reads tilakā iti vicitraracanākṛtā.

36 (C.41). $^1$ This passage is wanting in K.

37 (C.42; K.XXI.34b, -34a). $^1$ Ag. (l.c.) ānakhād—alaktaka-rāga-paryantam.

38 (C.43; K.XXI.35). $^1$ Ag. (l.c.) explains āgama as upādānakāraṇam.
$^2$ An authority of arts and crafts (śilpa).

39 (C.44; K.XXI.37b-38a). $^1$ K. reads tarhi śaktyanusāreṇa.

40 (C.45). $^1$ Read vibhavato.
$^2$ K. omits this passage.

53

418 THE NATYASASTRA [XXIII. 41-

41. But in the production of plays there should not be a use of too many ornaments ; for these by stiffening movements will cause fatigue [to actors and actresses]¹.

42. Weighed down with heavy ornaments one cannot move much, and one so weighed down, is likely to be exausted and to be faintaing.

43. Hence [in a dramatic production] there should be not used ornaments made of pure gold, but those made of lac and inlaid slightly with jewels, will not bring exaustion [to the wearers in a play].

44. The rules of decoration are optional¹ in case of the celestial beings (gods and goddesses) ; but the decoration of human beings are to be made carefully.

45. The celelstial females are to be distinguished for their own roles by means of ornaments and Costumes suited to the various States.

46. Women of the Vidyādharas, the Yakṣas, the Nāgas, and the Apsarasas, and the daughters of sages and gods are to be distinguished by their Costumes.

47. The same rule applies also to women of the Siddhas, the Gandharvas, the Rākṣasas, the Asuras, the godly monkeys, and human females.

48. The Vidyādhara women should be made to have hairs (śikhā) tied in top-knot decorated with string of many pearls and clothes [completely] white¹.

49. The Yakṣa women and the Apsarasas should have

---

41 (C.46). ¹ A very sensible warning.
42 (C.44). See above 41 note.
43 (C.48).
44 (C.49). ¹ For gods are beautiful by nature.
45 (C.50). ¹ Read 45a as भूषणैश्चापि वेधैस्तु नानावस्था समाश्रयैः.
46 (C.51, K.XXI.42).
47 (C.52). ¹ Read divya-vānara-nārīṇām ; cf. 57 below.
² K. omits this passage.
48 (C.53, K.XXI.44).¹ K. reads citra for śuddha, C.
49 (C.54, K.XXI.43),

.-XXIII. 56] THE COSTUMES AND MAKE-UP 419

ornaments of jewels, and the same will the dresses of [all] these, except that the Yakṣa women are to wear the simple Śikhā¹.

50. The Nāga women are to wear like the goddesses¹ the ornaments abounding in pearls and jewels, but they are also have hoods² [in addition to these].

51. The daughters of sages are to wear a single Veṇī of the hair on their head, and they should not be made to have too much decoration.

Siddha women

52. The Siddha women should have ornaments abounding in pearls and emeralds, and their dresses should be of yellow colour.

Gandharva women

53. Ornaments of the Gandharva women should be made to abound in rubies. And they are to carry a Viṇā in the hands and to have clothes of saffron colour.

Rākṣasa Women

54. The Rākṣasa women are to have saffires as their ornaments, and their teeth are to be made white and the dresses of black colour.

Goddesses

55. The celestial women are to have lapis lazuli and the pearls as their ornaments, and their dresses are to be made green like [the colour of] the parrot's tail.

Monkey females

56. The women of the [godly] monkeys are to have topaz¹ and [sometimes] lapis lazuli as their ornaments, and their dresses are to be made of blue colour.

---

¹ Read samas tvāsām for samastānām (K). and yas tvāsām (C.)
50 (C.55, K.XXI.38b). ¹ K. omits 50a. ² Read phaṇās tāsām (K).
51 (C.56, K.XXI.39 and 45). ¹ Read tāsāṁ veśo vanocitaḥ (K).
52 (C.57). ¹ For the Siddha women see Megha I. 14.
53 (C.58). ¹ Read kuryāt before padma-maṇi°.
54 (C.59). 55 (C.60).
56 (C.61). ¹ Puṣparāga = puṣparāja, NIA. pokh-rāj.

420 | THE NATYASASTRA | [ XXIII. 57

57. This should be the dress of celestial women in their love-making. But in other conditions their dresses are to be made white.

Human females according to their countries

58. Human females are to have dresses and ornaments according to their places of origin. Listen properly about them.

Women of Avanti and of Gauḍa

59. The young women of Avanti are to have curling hairs, and the women of Gauḍa are to have hairs mostly curled and they are to have the Śikhāpāśa and the Veṇī.

Ābhīra women

60. The Ābhīra women are to have two Veṇīs on their head which should be covered with a [piece of] deep blue cloth.

Women of the North East

61. The women of the North East are to hold up their Śikhaṇḍas, and in dressing themselves they cover the body up to their hair.

Women of the South

62. The women of the South are to have Ullekhya with Kumbhīpadaka, and Āvarta on the forehead

63. Thus, dresses, ornaments, and hair-cutting etc. should be regulated for the remaining characters according to their habitation and birth.

Ornaments to be worn in the right place

64. An ornament not put on in its proper place will create

---

57 (C.62; K.XXI.40a, 46). ¹ Read divyāṅganā° ca.
58 (C.63; K.XXI.47, 40a).
59 (C.64; K.XXI.48). ¹ Probably the district of Malda and neighbouring regions in modern Bengal.
60 (C.65; K.XXI.49). 61 (C.66; K.XXI.50).
62 (C.67; K.XXI.51). ¹ Ullekhya is probably connected with Bengali ulki (tatto).
² Possibly a special kind of tatto. ³ Some kind of circular mark.
63 (C.68b-69a; K.XXI.52). ¹ K. omits 62a C. adds one hemistich (C. 68a) before 62, which in trans. is follows : Courtezans are to have the decoration [of the body] according to their choice.
64 (C.69b-70a; K.XXI.53).

-XXIII. 72 ] THE COSTUMES AND MAKE-UP 421

no beauty; for by wearing a Mekhalā (girdle) on the breast one will create laughter.

Dresses to suit the condition of females

65. Similarly, the condition of females whose lover has gone abroad and who are afflicted with misery are to not to have a clean dress, and they are to wear their hair as a single Veṇī of the head.

66. The dresses of women who are separated from their lovers, should be white and they are not to wear many ornaments and not to cleanse their body¹.

67. Such should be [the dresses] of women according to their habitation and the condition [of existence]. Now I shall speak about the proper dresses of men.

Painting the limbs

68. But in their (i.e. men's) case the producers of plays should first of all paint the limbs, and then Costumes according to their habitation should be provided.

The four original colours

69. The four original (lit. natural) colours are black, blue, yellow and red; the limbs should be painted with these.

The derivative colours

70. There are besides these, the primary and the secondary derivative colours. I shall speak about the ways in which the producers are to make them.

The primary derivative colours

71. The yellowish white (pāṇḍu) colour is made up of the white and the yellow¹, and the pegion (kāpota) colour, of the white and the blue².

72. The lotus (padma) colour is made up of the white and the red, and the green (harit) colour, of the yellow and the blue.

---

65 (C.70b-71a, K.XXI.54).
66 (C.71b-72a, K.XXI.55). ¹ na vāpi hi nṛtā (=mṛjā) yuta, (K).
67 (C.72b-73a, K.XXI.56). ¹ Veśā deśasamudbhavā (K).
68 (C.73, K.XXI.57). ¹ C. omits 68b.
69 (K.XXI.58). ¹ C. omits this passage.
70 (K.XXI.59). ¹ C. omits this passage.
71 (C.74a, K.XXI.60a, 61a). ¹ C. nīla for pīta. ² C. omits. 71b.
72 (C.74-75a, K.XXI.60b-61b).

422	THE NATYASASTRA	[ XXI. 73-

73. The dark red (kāṣāya) colour is made up of the blue and the red, and the pale-red (gaura) colour, of the red and the yellow.

74. These are the primary derivative colours. Besides these there are [many] secondary derivative colours which may be made up of three or four [original] colours.

The secondary derivative colours

75. Of these, the strong colour should form one part and the weak colour two parts ; but the blue colour should be taken as directed below.

76 'The blue should form only one part while the other colours will form three parts, for the blue is known to be the strongest of colours.

77. Knowing these rules of colours which are to be prepared by mixing them variously¹, one should paint the body of different characters.

78. The painted body together with the change of the Costume is to be considered as due to the convention (nāṭyadharma) affecting the dramatis personae¹.

79-80. Just as [the soul of] a man on entering the body of another being, renounces his own nature connected with a different body and assumes another character¹, so a person having (lit. covered with) [a different] colour and Costume adopts the behaviour connected with the clothes he will wear.

Living beings

81. As they have breath, the gods, the Dānavas, the Gandharvas, the Yakṣas, the Rākṣasas and the Pannagas (Nāgas) are called living beings (prāṇin)¹.

---

73 (C.75b-76a, K.XXI.62).
74 (C.76b-77a, K.XXI.63).
75 (C.77b-78a, K.XXI.64).
76 (C.78b-79a, K.XXI.65).
77 (C.79b-80a, K.XXI.66). ¹ nānāsaṃyoga (C) for mānasamyoga(K).
78 (C.80b-81a, K.XXI.67). ¹ C. reads after this an additional couplet.
79-80 (C.82b-83a, K.XXI.65). ¹ Read parabhāvaṃ for parābhāvaṃ.
81 (C.84b-85a, K.XXI.70). ¹ C. reads an additional couplet after this.

-XXIII. 89 ] THE COSTUMES AND MAKE-UP 423

Lifeless objects

82. Hills, palaces, mechanical contrivances (yantra), shields, armours, banner-staffs and the various weapons are known as lifeless objects (aprāṇin)¹.

Lifeless objects in human form

83. But whenever necessary (lit. due to a reason) they may assume a human form with [suitable] dress and speech according to the dramatic convention (nāṭya-dharma).

Painting the limbs

84. After learning the rule of making colours one should paint the limbs [of the dramatis personae] in keeping with their habitation, birth and age.

Colours for gods

85. Gods as well as the Yakṣas and the Apsarasas should be painted reddish yellow (gaura), and Rudra, Arka (the Sun) Druhiṇa (Brahman) and Skanda are to have the colour of gold.

86. Soma (the Moon), Bṛhaspati, Śukra, Varuṇa and the stars, the ocean, the Himālaya, and Gaṅgā (the Ganges) are to be made white in colour.

87. Aṅgāraka [Maṅgala = Mars] should be painted red and Budha and Hutāśana (Agni) yellow and Nārāyaṇa and Nara as well as Vāsuki should be dark blue (śyāma).

Colour for demi-gods

88. The Daityas, the Dānavas, the Rākṣasas, the Guhyakas, the Piśācas, gods of hills, and the sky are dark blue in colour.

89. The Yakṣas, the Gandharvas, the Bhūtas, the Pannagas (Nāgas), the Vidyādharas, the Pitṛs and the monkeys are of various colours.

---

82 (C.86b-87a; K.XXI.71). ¹ Read तेऽप्राणिनः.
83 (C.87b-88a; K.XXI.72). 84 (C.88b-89a, K.XXI.73).
85 (C.89b-90a; K.XXI.74). ¹ Read rudrārkadruhiṇa (K.) for rudraḥ sadruhiṇaḥ (C.).
86 (C.90b-91a; K.XXI.75). 87 (C.91b-92a, K.XXI.76).
88 (C.92b-93a; K.XXI.77). ¹ Presiding deity of hills (Ag.).
89 (C.93b-64a; K.XXI.78). 90 (C.94b-95a, K.XXI.79).

424	THE NATYASASTRA	[ XXIII. 90-

Colours for human beings in different regions

90. Human beings who dwell on the Seven Continents (sapta-dvīpa) are to be painted in the colour of burnished gold.

91. But among the inhabitants of Jambudvīpa where men of various colours live, every one except those who dwell in the North Kuru region should be given the colour of gold.

92. People of Bhadrāśva¹ should have the white colour of their body, and so should these of Ketumāla. But those of other Continents should be made reddish yellow (gaura) in colour.

Colours for Bhūtas and dwarfs

93. Bhūtas and the dwarfs are known to be of various colours. They possess odd faces and may have faces of boars, rams, buffaloes and deer as well¹.

Colours of different peoples of Bhārata-varṣa

94. Listen now about the different colours of the people of Bhāratavarṣa. Kings there should be of lotus colour, or dark blue or reddish yellow [in complexion].

95-96. And the happy mortals there are to be made of the reddish yellow (gaura) colour. Those who practice vile acts, are possessed of evil spirits, diseased or engaged in penance and do not perform sacrifices (yajña) and are of inferior birth, should be made brown (a-sita, lit. not fair). And the sages should always be given the colour of plum (vadara). And such should be the colour of sages observing penance (tapas).

97. But out of any necessity and not according to one’s pleasure, colours of persons may be varied according to the habitation, birth and age.

98. An expert in [dramatic] production should paint persons after knowing their, place [of action] and time of action, birth and the region of the earth they dwell in.

---

91 (C.95b-96a; K.XXI.80).
92 (C.96b-97a ; K.XXI.81). ¹ Read bhadrāśvaḥ.
93 (C.97b-98a ; K.XXI.82). ¹ K. reads this differently.
94 (C.98b-99a; K.XXI.83). ¹ padmavarṇaḥ for pañcavarṇaḥ.
95-96 (C.99b; K.XXI.84-86a). ¹ C. omits 95b-96.
97 (C.100; K.XXI.86-87a).
98 (C.101; KXXI.87b-88a).

-XXIII. 100 ] THE COSTUMES AND MAKE-UP 425

Colours of different tribes

99. Kirātas¹, Barbarians² (barbara), Andhras³, Dramilas,⁴ Kāśīs⁵, Kosalas⁶, Pulindas⁷ and the inhabitants of the South (dākṣiṇātya)⁸ are mostly known to be brown (asita lit. not white).

100. Śakas¹, Yavanas², Pahravas (Palhavas)³ and Vāhlikas (Bāhlikas)⁴ who dwell in the North should be made almost reddish yellow (gaura).

---

99 (C.102, K.XXI.88b-89a). ¹ Colours mentioned in this and the following passages probably show that the groups alloted a special colour are approximately of the same complexion and not actually of the colour mentioned. These passages seem to give a valuable information about some ethnological features of ancient India. Pre-Aryan people including the Dravidians (Andhras and Dramilas) were not fair in complexion. The separate mention of the Southerners after Andhras and Dramilas (Draviḍas) taken along with some Northern tribes like the Kāśīs and Kosalas, seem to show that the NŚ. here records the tradition of their once living in the North. Kirāta—a hill tribe probably living in the Himalayan region; see Mbh. XII. 207, 43.

² Barbara—Some non-Āryan tribe mentioned very rarely in Skt. literature (Mbh. XII. 207. 43). This may be a synonym of Mleccha as well.

³ Andhra—This tribe is well-known in history and literature.

⁴ Dramila—Known in Pali (Mahāvaṃsa) as Damila (modern Tamil).

⁵ Kāśī—The tribe after which the ancient kingdom of Kāśī and the city of that name was known.

⁶ Kosala—The tribe giving name to the ancient kingdom of Kosala.

⁷ Pulinda—An aboriginal people living probably in the Vindhya region. See Mallinātha on Raghu, XVI. 32; also Paṇha I. 1. and Ṇāyā I. 1.

⁸ They may be members of Kol and other tribes living in the South.

100 (C.103; K.XXI.19b-90a). ¹ Śaka—Hoards of nomadic tribes from Central Asia who descended on the Indian plains in about 200 B.C. ; mentioned in Manu 10, 44.

² Yavana—Probably the same as Yona in Aśoka's edicts. They seem to have been Perso-Greeks and their descendants.

³ Pahrava (Pahlava)—Usually taken to mean Parthians who annexed the Western Punjab in about 140 A. C.

⁴ Vāhlika (Bāhlika)—Inhabitants of the region known as Balkh.

⁵ Read उत्तरां पश्चिमां श्रितम् (उत्तरां पश्चिमां दिशम्, K. उत्तरां ये श्रितं दिशम् C.). The tribes mentioned here came to from their home in the North-West.

54

426 THE NATYASASTRA [ XXIII. 101

101. Pañcālas¹, Śūrasenas², Uḍhras³, Māgadhas⁴, Aṅgas⁵, Vaṅgas⁶ and Kaliṅgas⁷ should be made dark or deep blue (śyāma) in complexion,

Colours of differen castes

102. Brahmins and Kṣatriyas should be always made red (or reddish yellow)¹ and Vaiśyas and Śūdras dark or deep blue (śyāma) in complexion².

Rules for the beard

103. After painting the face and other limbs one should provide beards to persons after considering their habitation, activity and age.

104. The beard according to the change of States of persons should be of four kinds : shaven (śuddha)¹, black (śyāma)² smartly done (vicitra)³ and bushy (romaśa, lit. hairy)⁴.

---

101 (C.104; K.XXI. 90b-91a). ¹ Pañcāla tribe is well-known in Mbh.
² Śūrasena—The tribe which once settled around Mathura. It gave its name to the principal Pkt. of the Indian drama (Śaurasenī).
³ Uḍhra (Uḍra)—The name of a tribe after which the modern Orissa (Oḍriviṣaya) has been named. See Manu. 10; 44.
⁴ Māgadha—The tribe after which the ancient country of Magadha was named.
⁵ Aṅga—The tribe after which the ancient country of Aṅga was named.
⁶ Vaṅga—The tribe after which the ancient Vaṅga (South-East Bengal) was named.

102 (C.105; K.XXI 91b-92a). ¹ Red (rakta, C) or reddish yellow colour (gaura, K) assigned to Brahmins and Kṣatriyas probably show that at one time when the various theatrical conventions cystalised, these two sections of the society still retained their original Indo-Iranian physical features one of which was certainly the colour of their skin. The dark colour of the Vaiśyas and Śūdras similarly shows in all likelihood that these were not Aryans or Aryans of the pure type. ² See note 1 above.

103 (C.106; K.XXI.92b-93a).

104 (C.107; K.XXI.93b-94a). ¹ Śuddha (śukla, C.)—clean-shaven, kṣureṇa sarvadā vāsitam, always treated with razor (Ag.).
² Śyāma—ordinarily black in colour ; but see above.
³ Vicitra—cut or done in special fashion. Ag. (p.433) on this point says : विचित्रमि[ति]क्षुरसकर्मो कर्मणा उत्पादनकर्मणा च रचित(तं) विचित्रसन्निवेशं. The reading though evidently corrupt seems to give the meaning suggested.
⁴ Romaśa—bushy, romaśaṁ iti yathotpannam (Ag. l.c.), 'bushy

.XXIII. 111] THE COSTUMES AND MAKE-UP 427

105. The beards of religious mendicants (liṅgin)^1 ministers, priests and persons who are indifferent to sensual pleasure^2 or have consecrated themselves for any ritual^3 should be made [clean] shaven.

106-107. The beards of celestial males such as the Siddhas^1 and the Vidyādharas^2, kings, princes, officers of the king and persons who are foppish and proud of their youth^3, should be made smartly done (vicitra) by the producers of plays.

108. The beard of persons who could not fulfil their promises, are sorry and miserable on that account or have been struck with any calamity, should be made black (śyāma).

109. The beard of sages, ascetics and persons observing a long-standing vow, and of those who are bent on revenge^1 should be made bushy (romaśa).

Rules for different Costumes

110. Thus the beard should be made of different kinds. I shall now speak of costumes suited to different occasions^1.

111. Drapery suited to different ways of painting limbs^1 may be of many kinds ; but generally it is of three varieties : white, red and variegated (vicitra)^2.

---

means as they are naturally grown'. The last three classes do not seem to be mutually exclusive.

105 (C.108; K.94b,96a). ^1 Liṅginām—ब्रह्मचारिवानप्रस्थादीनां मध्यस्था ये च पुरुषा ये भिक्षां समाश्रिता इत्यर्थः (Ag. p.433-434).

^2 Madhyasthā—मध्यस्था इति नोत्तमानामधमानाम् इत्यर्थः (Ag. p.434).

^3 It is even now the custom among some Hindus is that they shave themselves clean before consecrating themselves for some special kind of daiva and paitra rites.

106-107 (C.109-110; K.96b-98a). ^1 A class of demigods. See Kumāra. 1,5.

^2 A class of demigods. See Bhartṛhari’s Vair. Śat. 24.

^3 Ag. says यौवनोन्मादिन इत्यमात्य-पुरोधसोऽपीति भावः (p. 434).

108 (C.111; K.XXI 95).

109 (C.112; K.XXI. 98b-99a). ^1 C. reads 109b as सिद्धविद्याधराणां च रोमशस्तु विधीयते which seems to be wrong. See above 106 where Siddhas and Vidyādharas have been taken as clean shaven.

110 (C.113; K.99b-100a). ^1 C. repeats here 10.

111 (C.115). ^1 See above 85ff. ^2 K. omits this.

428 THE NATYASASTRA [ XXIII. 112.

112. Costumes are of three kinds : white, variegated and soiled (malina). I shall now explain their difference according to their use by producers.

113-114. In going to the temple of gods, observing some auspicious rite or a vow or at the conjunction of some Tithis and stars (nakṣatra) or at the time of marriage¹ or any other sacramental rite, men and women should have white costumes and the same is the rule for a trader (prāpaṇika)².

115. Costumes of gods, the Dānavas, the Yakṣas, the Gandharvas, the Nāgas, the Rākṣasas, kings, and people of foppish nature¹ should be variegated (citra = vicitra).

116-117. Costumes of Kañcukins (armour-bearer), ministers, leaders of army, priests, the Siddhas, the Vidyādharas, merchants, adepts in Śāstras, Brahmins, Kṣatriyas, Vaiśyas and kings' officers (sthānīya)¹ should be made white in a dramatic production.

118. Costumes of lunatics, intoxicated persons, wayfarers and persons struck with calamity should be made soiled (malina).¹

119. Costumes and decorations of the sages, the Jain (Nirgrantha) and the Buddhist (Śākya) monks, the Tridaṇḍis¹ and Brahmins well-versed in the Vedas (śrotriya) should be made according to their respective sectarian rules.

120. Costumes of the wandering ascetics (parivrāj), great sages and other ascetics should be made, whenever necessary, with dark red (kāṣāya) cloth¹.

---

112 (C.116; K.XXI. 100b-101a).
113-114 (C.117-118 ; K.XXI. 101b-102a). ¹ K. omits. 113. Ag. (p.434) explain śuddha as गृहयवस्त्रादिप्रायः.
² Prāpaṇikā (C. prāpatnikā, K. prayat°, prāyat°) see Māgh. IV. 11.
115 (C.119; K.102b-103a). ¹ Emend karkaśa° into kāmuka°.
116-117 (C.120-121; K.103b-105a). ¹ They were possibly inferior in rank to prādeśikas of Aśoka. See B.M. Barua, Inscriptions of Aśoka Pt. II. Calcutta, 1943, p.242.
118 (C.122; K.XXI 105b-106a). ¹ K. reads after this three more hemistichs (106b-107).
119 (C.123; K.XXI.108). ¹ A sannyāsin who carries three staves tied together and has control over his mind, speech and body. See Manu 12, 10. (Ref. Apte). For tridaṇḍi-śrotriyeṣu, K. reads yatipāśupateṣu (members of the Pāśupata sect.).
120 (C.124). ¹ K. omits this.

-XXIII, 128] THE COSTUMES AND MAKE-UP 429

121-122. To the Pāśupatas should be given a veriegated dress, and costumes of persons of high family should be made according to their position. Besides this the ascetics are sometimes to have the bark of trees and the [animal] skin as their clothing.

122-123. To persons engaged in guarding the harem should be given armour and clothes of dark red (kāṣāya) colour. The same should be the dresses of females when they attain special conditions.

124. Costumes of the warriors should be suitable for fighting a battle, and they are to be provided with brilliant weapons, armours, quivers¹ and bows

125. Kings should always be made to have a many-coloured dress ; but when due to ominous appearance of any star (nakṣatrotpāta)¹ they are engaged in any propitiatory rite their costumes should be white.

126. Thus should be made the dresses of persons (lit. types men and women) of the superior, the middling and the inferior classes according to their age, birth and other conditions (lit. qualities).

127. These are the rules of costumes in a dramatic production according as persons attain different conditions, and practice good or bad deeds.

Use of masks

128. Similarly different masks (pratīśira)¹ are to be used for gods and men according to their habitation, birth and age.

---

121-122 (C.125, 127a; K.XXI 110b,109). 122-123 (C.126, 127b; K.XXI. 109b-110a, 111a). 124 (C.128; K.XXI-111b-112a). ¹ C. baddhatrāṇa for baddhatūṇa. 125 (C.129; K.XXI.112b-113a). ¹ नक्षत्रोत्पातप्रशमनार्थं यन्मङ्गलं, Ag. (p. 434). 126 (C.130; K.XXI.113b-114a). 127 (C.131; K.XXI.114b-115a). 128 (C.132; K.XXI-115b-116a). ¹ Pkt. paḍisisaa = Skt. pratīśīrṣaka (Karp I.). It is not laid down anywhere whether masks are to be used in all types of plays and for all characters. For a discussion on this see the Introduction.