COSTUMES AND Makeup OF SHANKARIAN THEATER. Deepak Bhuyan. Sri Shankardeva of Assam, whom lived in the 15th-16th centuries, will be the Indian cultural mentor, very best saint of this country. They spent his life inside bringing before his individuals the ideals of a good life conceived on the background involving Krishna culture. The discussion associated with costumes and cosmetics of his theater is one of the the very first thing of Assamese culture. The fancy dress costumes of Shankarian theater has been changing tremendously in course of occasion. It is not an easy task to make a apparent picture of costumes that have been used in times of Shankardeva, because of non-availability involving detailed snapshot. However going through through some scattered details of GURU CHARIT, Dr. Kaliram Medhi, Generate Birinchi Kr. Boruah, Dr. Bani Kanta Kakoty, and in the doctorate thesis of Dr. Maheswar Neog and Dr. S walmart halloween costumes 2010. N. Sarma sketched the Shankarian theater costumes within their writings and research paperwork. Presumptions through various historical data of socio-political aspects are countable in this regard. Assamese miniature paintings are also the supply of getting vibrant touch with all the Shankarian theater costumes. With a see to detail the subject the subsequent ramifications has been made for comfort. 1. Historical background. Two Costumes and cosmetics used in time of Shankardeva. 3. Costume along with cosmetics used in present time and. 4. The variance of tradition. 1. Historical history. Peoples are accustomed with their native apparels from forever. No ethnic groups have emerged to be worn others garments forsaking their own, which they have been using via many generations. However some kinds of changes are noticed in this industry. The imitations of clothing from others and building a new look of the imitated clothing are common factors, generally noticed in the past and present period. Hence the convergence and divergences are the reality of the concerned subject. The actual apparels focus the cultural characteristics of concerned racial groups or nations. Consequently because of the identity and maintenance of tradition every ethnic group or nation utilized their own native apparels of their art and culture as a valuable asset. The routine apparels are also a sound issue of culture. Depending on the stated utterance of the subject it is easy to assume that the native apparels were chosen for the Shankarian theater from its creation. It must be stated here the native apparels of earlier period of Assam [1250 AD to 1600 AD ] as well as its adjacent areas were of pricey and gorgeous look. A fascinating and inspiring elaboration on this subject matter can be given from the articles of Dr. Birinchi Kumar Boruah. Dr. Boruah in their book -A Cultural History of Assam- wrote about the fabrics of Assam that - -- muga silk worm symbolizes its peculiar connection with Assam, -- - The mejankari (muga ) silk is actually reported by Hamilton, constituted the dress in the higher ranks most of the idea being dyed red with lack. True silk, the current Assamese white Pat Silk is known as patta and is the product of Bombyx textor as well as Bombyx croesi which feed on mulberry trees. --- -- Stitched cloth was also manufactured, - -- the biography of Shankardeva describes a scroll of fabric named Vrindabaniya kapor wherein the weavers regarding Tantikusi ( near Barpeta ) with coloured wools had woven the various views from the early life of Sri Krishna. Clothing of the people as reveled in the art forms of the period consisted of an individual unstitched undergarment like the present day dhoti. This became worn wrapped round the waistline, and hardly reached under the knee. It was used tight at the waist by way of a girdle consisting of three or more rings fastened together by means of a knot in the centre, just below the belly button. Sometimes one end with the garment was allowed to hang up in graceful folds in the front. -- - Women too seem to have worn two garments, top of the and the lower. The lower garments descended from the stomach towards the ankles and was fixed by means of Navibandha . Now their outfit comprises of three garments specifically, mekhela, riha and chelleng. The mekhela is a sort of petticoat in the form of an elongated sack wide open at both ends. It is put on by adjusting it both above the breast or round the waist. When adjusted throughout the waist the mekhela reaches on the ankles. The riha is a kind of ornamented scarf which is wrapped round the waist. Over the riha is placed a type of shawl known as the chelleng. -- -- The Ahom master and the dignitaries used to wear paguri ( head dress ). 2. Costumes and cosmetic makeup products used in time of Shankardeva. From the earlier mentioned statement it is proved that the garments of Assamese people were in adorable position in the early duration of Assam. According to some scriptural information it is known that california king Bhagadatta took part in the Kurukhetra battle sporting dhoti and other garments which were made of Muga. Mulberry silk and muga silk had been available since the ancient serious amounts of the weavers of Shankarian period has been of sound skill which is proved from the instance of Vrindabani bastra. The costumes of Shankarian Theater ended up made from the indigenously available textiles according to the required designs. The actual dying of the fabrics have also been another striking feature regarding Assamese garments making art, containing sound historical base. Actually elaboration of historical back ground it can be found that the native clothing were abundant to be used pertaining to theatrical purpose and the possibilities of employing extraneous garments are absolutely exterminated. The cosmetics and artwork materials of stage have been generally vermilion ( hengul ), yellow arsenic ( haital ), indigo, chalk ( dhal ), brown ochre ( gereu ), light fixture black, collyrium and mica. Female personas put vermilion marks on their front heads and a lavish a little collyrium on the eye lashes. The actual said cosmetics and piece of art materials, and other colour purchased from fruits and plants were utilised as make up materials associated with Shankarian theater. 3. Costume along with cosmetics used in present period. Dr. Maheswar Neog mentioned in his documents that much change has taken place in the style of dress in the path of the last four centuries. Based on his statement the Sutradhara can be invariably dressed in white garment and it has two types of head outfit: turban ( pag, paguri ), either with upright facets ( thiya-kaniya ), elliptical from bird's vision view and slightly sticking out at the front end, as observed in Kamala bari Sattra or in the style , called Muglai cover , looking like the head-gear of the Mughul emperors, with the back end protruding, or the go dress of some of the male Kathak dancers. - - generally the Sutradharas use ready-made paguris of cloth. The actual later type is most regularly seen in the miniatures in outdated Assamese illuminated manuscripts. The Sutradhara puts over a thin coat coming down to the waist ( phatua ) without collar, along with or without long masturbator sleeves and with fastening or button-hole agreement below the arm opening, and a skirt ( ghuri ) with quite broad bottom ends coming down to the ankle , resembling greatly the immensely full dress of Kathak dancer known as ghagara. Any thin or thick stomach band with hanging strings of pearl like ovoids and a white neck-lace or garland total his costume. The nobleman and warriors are famous by their gaudy Halloween costume. The coloured waist-coat studded with glistening glass or mica, a frilled blouse ( ghuri with several frills) , decreasing to the knee only and a sort of tight pyjamas or a dhoti firmly wound round the legs. During the last half century, these roles have been using rich, velvet layers coming down to the knees or below them and similar jeans, coming down to a little beneath the knees and clothes. These meterials are generally imported externally of Assam. Modern cosmetics can be used for make-up and painting, which cover the complete get up of modern theater. 4. The variance of tradition. Everyone will be of identical opinion that the utmost alternative of tradition is seen inside garments of Shankarian Theater. Because it is known from various sources that the garments which were employed in time of Shankardeva was purely local with sublime antique. These days the garments ( costumes) found in Shankarian theater has distorted the actual glory of our tradition. These types of distortions have been done through the usage of so called royal dresses involving Bengali format. At the extremely outset of this writing it absolutely was mentioned that the identity of your sect or any nation can be purchased through its garments. Since the garments focus the cultural characteristics of concerned racial groups or nations. Simply because of the identification and preservation of tradition every ethnic group or nation have used their own native apparels inside their art and culture. Normally these will be rootless and shed its identity . As an instance the standard theatrical performances and costumes associated with Indian native people can be pointed out. Kathakoli, ---- ----- ---- all performances are the types of the said subject. In case there is Shankarian dance ( Sattriya Dance ) the outfit has been approved unanimously that has saved us from the unconventional atmosphere. So the perfection involving garments to be used for Shankarian movie theater should be made as early as possible. This urgent and unavoidable pious job is to be done through the study of our own miniature paintings of Sanshi Pator Puthi (Manuscripts published and painted on the sound off of the tree Aquilaria agallocha ). For this purpose the following manuscripts can be taken - One particular. Ananda lahari, completed during the reign regarding Ahom king Shiva Singha(1720 - 1722 AD. ) Only two. Gita govinda, during the reign of Ahom master Rudra Singha ( 1695 - 1713 AD ). The miniature paintings of the manuscript is the fusion of Satriya and imported Islamic style. 3. The manuscripts made it from the period of King Shiva Singha we,e, a) Sankhasur Badh. ( 1726 ) b) Uma harana. (1730 ) d) Hastividyarnava (1734 ). d) Sastha Skandha Bhagawata(1734) e) Dharma Puran (1735). Chitra Bhagawat etc. Study regarding various other works such as rock, bronze and terracotta regarding medieval origine are also countable in this respect. Great possibilities of making magnificent Shankarian cinema costumes designs from the smaller paintings of the said manuscripts and other sanchi pator puthi available in various sattras of Assam might not be denied. A unique outcome with regard to our traditional culture along with guarding the root of ethnic manifestations can be expected through this process. The actual present-day costumes of Shankarian theater however bears no resemblance for the costume depicted in mentioned manuscripts. That's the proof of our change of traditional cultural customs. All the miniature paintings associated with Assam which are available today are blend of Mughal, Mongolian and Sattriya art. It is observed in the linguistic and other cultural aspects too. The Turban associated with Sutradhara is the burning example of the design
