CHAPTER V

DRESS AND ORNAMENTS

 59

CHAPTER V

DRESS AND ORNAMENTS

One cannot think of a civilized human being without dress to cover his/
her body. The dress, evolved out of the necessity to protect one from the fury
of the sun and rain in the early days, later developed into a symbol of
civilization. The simple dress has, however, got deeply embedded in the life of
a man and consequently has passed on as a cultural idiom of a society. As the
old Tamil saying goes;

"Without clothes to cover him

a Man is but half of himself.

The necessity of making a dress seems to have been to protect man from
the extreme climatic conditions.1 The first step towards a dress could have
developed in the form of body decoration. This was further supplemented with
stitching of big leaves to protect the body. The bark of trees and big leaves of
plants2 could have served man as a dress for sometime. Later the cutting and

tailoring of the leather formed an improved version of the development of

actual dress. In course of time man understood the use of fibres and also
developed a system of knitting them into a dress.3 However which of the

1 Singaravelu, S., The Social Life of Tamils, pp.70-75.

o
Ranga Ponnusamy - Spinning in Ancient Tamil Country. Kongu Magazine dt. 15.3.76,
p.59.
3 ibid.
 60

fibres were the very first to be used could not be stated. In the early
development of dress, it could have been designed as a status symbol to
distinguish one tribe from the other.

In India the earliest use of dress was known in the Indus Valley
Civilization. The Vedic Aryans had used dress made mostly of cotton. In South
India, especially in the Tamil country, cotton dress and silk cloth were in use.

For a detailed study of the women’s dress the Sangam literature is helpful for
us. For the Pallava, Pandya, Chola and Vijayanagar periods inscriptions and
literature provide a good account of the dress of the people. Visual
representations are provided by the sculptures and paintings of this period.
Though adequate representations are available from sculptures and paintings,
they cannot be regarded as reflecting the real condition; since it may also
represent some imaginative ideas of an impressive sculptor or painter.

However, by looking at the sculptures and paintings through the ages

some scholars are of the opinion that Indians as well as the women of the
Tamil country were bare above their waists from early times. The sculptures
do depict the women with bare breasts and a lower garment.4 There are many

sculptures in which women are well clothed with their breasts fully covered.
Therefore, as Altekar has pointed out that nudity or scanty dress as seen in
the sculptures may be due to the artistic convention of that age and does not
represent a true picture.5 He also substantiates his views with the literary

Gift Siromoney and Dayanandan, P., Mahapalipuram Studies Dress and Ornaments.
Pallava Period, p.93.
5 Altekar, A.S. The Position of Women in Hindu Civilization, p.344 (Banaras 1959).
 61

evidences from Hala’s Gatha Saptasati which represents the life of women
during the early centuries of the Christian era in South India.6 The Sangam

literature also provides sufficient evidence in this regard.

In the Sangam Age women wore different kinds of clothes. They wore
a lower garment and an upper garment. The evidence regarding the lower
garment is quite clear. C.E.Ramachandran, in his Ahananuru in its Historical
settings, points out that in Sangam Age the women wore clothes called
kalingam.7 but he is not certain about the material from which the dress was

prepared. On the basis of the evidence from Puram he has observed that
women during the Sangam Age wore spun cotton8 and suggested that

kalingam could have been made of cotton. Barks of trees and plaited leaves
particularly of Asoka tree were also used as dress.9 In ancient Tamilnad
women also wore some special dress, strewn with leaves and flowers.10 It is

said that women of the Neidal region beautified themselves with garments
sewen with the leaves and punnai flowers. This kind of dress appears to have
been used on special occasions and festivals.11 The girls of the hunter

community also dressed themselves with leaf garments. Coconut fibres were
used to make garments and they seem to have been worn them. Animal hair,

6 ibid.

7 Ah am 86, 136.

8 Puram 125.

9 Aham 7.

10 Aham 20.

11
Aham 70.
 62

and vegetable fibres were also used to make dresses. It appears that even after
the use of cotton, silk12 and woollen clothing in the Sangam Age, the use of

leaf garment was not given up totally particularly by the people of the lower
strata. The decorations and the designs of the dress either printed or woven
leave an impression that the people of the Sangam Age were eager to put on
an elegant appearance.

The evidence with regard to their upper garment is very scanty. This
has led to suggest that ancient women of the Tamil country went bare
breasted. Rasamaniekanar viewed that it was difficult to judge whether
ancient Tamil women wore dress above their waists.13 Charles Fabri14

confirmed it on the basis of the non-representation of the choli, the bodice or

blouse before the time of the Mughal miniature paintings.

References from Silapathikaram, Kalithokai and other Sangam works

confirm in a limited way that the Tamil women wore only lower garments from
the loins downwards to the ankles while the upper portion above the waist
remained bare.15 According to Silapathikaram, Kannaki and Madhavi were

without an upper garment. The courtesans wore a piece of muslin which

covered their body from the waist to the middle of the thigh and due to its fine

Aham 236.

Rasamaniekanar, M Patherpattarachi p.510.

Charles Fabri, A History of Indian Dress. General Introduction

15
Silapathikaram 4: 47-49. Kalithokai. 111-115.
 63

texture the dress hardly concealed their person.16 The women of hilly region
17
wore barks of green leaves tied to a string around their waist. Wives of
1 ft
wandering Panars (musicians) had scanty cloth.

For a study of the costumes of the Pallava period, most observers relied
on the figures of women represented in sculptures indifferent temples. These
sculptures of women show no dress over their upper part.19 According to

C.Minakshi, that, while men of Pallava period dressed so eloquently, women,

the symbol of motherhood, wore nothing on their upper part of their body
exposing their breasts.

The dress of the higher class men consisted of two separate cotton
pieces, of which one was tied round the waist and the other went round the
neck and covered the body. They were called sirradai and meladai respectively.
The ascetics wore an yellow garment called tuvar adai.20 Kings and nobles
used silk and cotton fabrics of finer variety.21

Though women are shown without an upper garment many sculptures

show women wearing a breast band or Kachchu. Some of these breast bands
are without shoulder straps and the others are with straps. Goddesses

16 Kalithokai 111-115, Silapathikaram VI 88.

^ Kurinchipattu 102.

18
Purananutharupadal 1,39.
19
Minakshi, C. Administration and Social Life under the Pallavas. p.193.

20 ibid p.194.

21
ibid, p.194.
 64

Parvathi or Durga is depicted with a breast band. In the portrait sculptures

of the Queens of Mahendravarma and Narasimha Varman they are depicted
with a dress above their waist.22

The exposition of breast in the sculptures need not reflect immodesty on

the part of women of those times as the manifestation of modesty is of most

fluctuating character. What is considered quiet permissible in one age can after
some time be regarded as indecent.

The women of Chola times wore numerous varieties of clothes, such as

fine milk white cotton clothes, designed clothes, reddish fine silk clothes, fibre
varieties, imported silk and cotton and white, green and reddish silk
clothes.23

The cloth was woven by the weavers called Kaikolar. They produced
various types of cloth for the requirements of the temple, royal household and
also for common people. One of the main articles of production of weavers was
pudavai.24 It was a kind of a long cloth, the length and the other details are

not known. However it could be compared to the modem pudavai or Saree and
may be taken to have varied between 5 and 6 yards. Jivakachinthamani states
that women wore sarees with folds.25 During the reign of Kulottunga Chola

1(1070-1122 AD) the surrupudavai. niravadi pudavai were known. The niravadi

Dayanandan, P. Dress and Ornaments of Pallava Period, p.93.

Soolamani. V:918.

Jivakachinthamani (Tiruttakka devar) 1320, 2477 Ed. Somasundaram, P.V. (Madras

1972).
25
ibid.
 65

pudavai could refer to a three yard piece.26 The weaving of ordinary cotton

sarees known as paruttippudavai is referred to in an inscription from

Nilamangala in Bangalore.27 An inscription of Raja Raja Ill’s (1243 AD) also
refers to pudavai.28 Evidence of stitched garments especially the blouse/
kanchuki could be gleaned from ancient sculptures.29

Tailors are stated to have been attached to the Brihadiswarar temple at

Thanjavur.30 A 11th centuiy inscription refers to the presence of tailors in
Tamilnad.31 They were skilled in the art of embellishing with many pieces

of cloth (Aneka Vastrakandita Sringara Vidva Pravinargi) decorative

blouses.32

Muslin or Sella, Chintz or Vichitra were mainly woven clothes.

Padaliputram (Poddaalapura),Chirapalli, Nagapatnam, Cholapatnam and
Thondaimandalam were known to produce excellent varieties of textiles. The
sarees of these places had lines of different colours, circular patterns with lines
and squares and also sarees with dots on them. Pumpattu, Pachchilai pattu,
konkala pattu and venpattu were different types of silk of this period.33

S.I.I. IV No.813.

E.C. IX No.3 (Kulothunga Chola - 1121 A.D.).

S.I.I. I No.64.

Sivamurthy, B. Amaravathy Sculptures in the Madras Govt. Museum (1st - 3rd

Centuries A.D.).

S.I.I. Vol.II Pt. 2 No.66.

S.I.I. Vol.II Pt.2 No.56 p.268.

S.E.C. Vol.V AK No.40.

33
Jivakachintamani. 71, 1307, 923, 2090, 2444, 3046.
 66

A Coimbatore record refers to Pachchai Pattu. Pulivur Pattu. Pattavala

or Patola pattu which the shephered community was previleged to wear.34

However, a 13th century Chinese writer named Chau-Ju-Jua points out that
the native custom was wearing cotton clothes. Marco-polo, an Italian traveller
who visited south India in the beginning of the 14th Century AD stated "It is
not possible to find a tailor anywhere in the country".

The women wore part of the cloth two or three times round their waist
and it formed a narrow petticoat which fell up to the feet in front. The other
end of the doth (Pallav) covers the shoulders head and chest. Thus the clothing
is made without seams or sewing.36 Sarees woven with gold threads called

Ponnar were worn during auspidous occasions like marriages. They were
called Ponnadai.37

Apart from Sarees there were stiehed or tailored garments such as the
blouse or waistcoat and were worn by the people of the lower strata.
Attendants appear to have worn frock like coats with full sleeves in the 10th
Century (i.e) during the reign of Raja Raja Chola I.38 Two beautiful life size

Chola paintings discovered in the inner Chamber of the main Vimana in the

34
George Philips, Mahuan’s Account of Cochin. Calicut and Aden. Journal of the Royal
Asiatic Society of Great Britain and Ireland, 1896, p.348.
qk
Raman, K.V. History of Pandvas. p.221.
36
ABBE, J.A. Dubois Hindu Manners.Customs and Ceremonies, by Henry K.Beanchamb
CIO Delhi, Oxford University Press, p.341
37
Jivakachintamani 1755, "Polantugil”.
38
Taniore Frescoes in the Brahadiswarar Temple. J111 Golden Jubilee Vol. Kerala 1973,
Qhemba 9 fig. 13 and 14.
 67

Raja Rajeswaram temple portray two Royal women wearing transparent red

and white sarees and jewellery complete with the hair-do in the form of a
dhammilla.39

According to Perivapuranam women wore costly and attractive dress.

Cotton and silk doth were worn by them. Tugil aruvai, tuni. tundu, were the
names of the cotton doth, whereas silk doth was called as Pattadai, Ponnaram
Uttarivam Portugil. and Manikilaradai. The tribals used leather, dried leaves,
pea-cock feathers and tiger skin as clothes.40 Tugil and Kalingam were
p|jphaps imported clothes.41 Tugil seems to have been fine in texture and
worn in summer season.42 Kalingam was a dyed cloth and black in
colour43 If a girl attained the age (puberty), it would be indicated by her
wearing a Red Silk dress.44 One of the main products of weaving was the
Pudavai or saree or silai by a woman.45 The pudavai proper was more or less

same in length as that in the modem age, measuring around 6 yards.

There was no significant change in the mode of dress in the Tamil

country during the Chola period. The sculptures of women in the temple of
Koranganatha at Srinivasanallur indicate the mode of wearing of the lower

39
Indian Express Dated 25.3.88 p.3.
40
Nambi Arooran, K. Glimpses of Tamil Culture based on Perivapuranam. Madurai.
1977 p.87.
41
Jivakachintamani. 617,697.
42
Jivakaehintamani. 1094.
43
Jivakachintamani. 1230.
44
Marutham. 1:44.
45
Jivakachintamani. (Ed.) Somasundaranar, P.V., Madras 1972-1320,2477.
 68

garment was prevalent among women in Chola times. The lower garment in
all the cases reached down the ankles or atleast was below the knees. Among
the 2 ends that come in front, one end of the saree was inserted at the back
after pleating breadth wise. The other end which usually comes from the right
side was drawn over the left and inserted on the left side and that hung in an
ornamental fold on the left thigh. A bronze image of a Chola Queen in
Kalahasti shows that one end of the lower garment was drawn from the left
and inserted at the right thigh.

Generally women wore Kiludai. Meladai and Kaccu. Royal and city
women wore Talaivudai during summer festivals (Nirvila).

The lower garment appears to have been held by a waist ornament

which women usually wore. The sculptures of Nagesvara Swami Temple in
Kumbakonam indicate the waist ornament worn at the hip to hold the
garments. Interestingly in the temple of Koranganatha at Srinivasanallur a
sculpture shows a lady wearing an araikkaccu (hip belt) wound twice round
her waist. Literary references also indicate the women wearing Kachu to cover
their breasts.47

Dancing girls usually wore a short lower garment. Sculptures of dancers

in the temples of Thanjavur and Chidambaram indicate dancing women
wearing both short and long lower garments. The paintings at Thanjavur also

46 Soolamani. v:1633.
47 Jivakachintamani. v:459,541.
 69

show the dancing girls wearing a thin upper cloth in the upavita fashion. The

ends of araikkaccu worn at the hip are shown as dangling at the sides in folds.

The dress of the women during the Vijayanagar period consisted of a

pavada (petticoat), paita (Mantle), and ravika (bodice). These three were the

principal garments for a lady’s dress. Among these paita was a close-fitting

garment. The Queens, courtesans and women of the harem, dressed more or

less in the same fashion and they used to wear shoes made of soft leather lined
with velvet and ornamented richly.48 There were various types of clothes

worn by women during the Vijayanagar and post Vijayanagar period.

Pattas - Cheap dyed cloth with stripes in varrying style.

Percalles - High grade plain cotton cloth - a printed calico

Material measuring 8 yards long and 1 yard in

width. This was used by women as Saree.

Ramals - 75 inches square used as scarf or hankerchief.

Sallalo - Muslin dyed material used by lower strata for

blouses. Measuring 2 Vadams and 5 spans.

Salem pores - Staple cotton cloth in plain white, blue or brown

measuring 16 yards long and a yard in width used

by elderly women of middle class.49

Barbosa p.209, Quoted by Venkata Ramanaya, N, Studies in the History of Third

Dynasty of Vijayanagar. Delhi - 1st reprint in India 1956, p.372.
49
ABBE J.A. Dubois, Hindu Manners. Customs and Ceremonies, p.342.
 70

Apart from these, Chinese Silk was imported and worn mostly by
queens, princesses, Nobles and elite women.

During Vijayanagar period different varieties of clothes made from

different materials such as silk, linen and cotton were known. Pietro Della
Valle speaks of women’s clothes made of fine silk from girdle downwards.50
According to Nicolo de conti, women wore linen clothes.51 Barbosa has stated

that the changes in dress had a big impact both in Andhra Pradesh and Tamil
country. Women appear to have worn very thin cotton or silk cloth of bright
colours. Five yards long cloth one part of which was girt round below and other
part thrown over one shoulder and across their breasts in such a way that one
arm and one shoulder remained uncovered.52

In some cases, the women wore the upper portion of their dress from
right to left. The bronze sculptures of queens of Krishnadevaraya found in
Tirupathi,are shown as wearing the sari in this fashion, i.e. the end of the
saree covers the bosom.

Women of other classes also generally wore a cloth of 12 cubits long and
2 cubits broad. First it was tied round the waist and then brought over the
right shoulder.53 The dress of the consorts of the Nayaks from the

Padmanapa in the Minakshi Temple at Madurai shows another variety.

50 Travels II pp.357-358.

51 Major - India p.22.

52 Book of Barbosa. v:l, p.203.

53 ibid.
 71

Though the lower portion of the garment is worn like that of a Sari with the
front pleats alone, the other end does not cover the breasts or shoulders.

The Brahmin community of the south developed new modes of wearing

the sari which still prevails among the Vaishnavas, Saivas and Madhava
women. The wearing of half sari by Tamil and Andhra girls before they
attained the age appears from the Vijayanagar period.54

Pietro Della Valle gives a description of dancing girls and their costume
in Tamil country and Andhra during Vijayanagar period. The dancing girls
appeared to have dressed from girdle downwards in silks with some patterns
on them. From thence upward they were either naked or wore very pure linen
either in a single colour or striped and wrought with numerous designs.55

A second cloth is tied round the waist and knotted in front at the centre.
With its two ends hanging between the thighs with fan like fold. This dancer’s
costume resemble to a very great extent the modem Bharathanatya dress.56

Besides wearing the lower and upper garments women also wore stitched
garments to cover their breasts. It is closely fitting under the arms and
breasts, leaving the body naked from the base of their breasts to the navel57

The stone figures of the consorts of Nayak kings at the Minakshi temple of

Venkata Ramanayya, N. Studies in the History of the Third Dynasty pp.369. FF.

Saletore, B.A., Social & Political Life in the Vijayanagar. pp.369 FF.

Champakalakshmi, R., Dress and Decorations from Murals. Bulletin of the Institute
of Traditional Cultures, Madras 1968 Pt.II P.279.
57
Moretana, Relations of Golconda. P.27
 72

Madurai wear ravikkais. It was worn by all classes of people as a matter of

convenience and taste.

Ornaments

The use of ornaments in South India dates back to the 3rd century B.C.
Decorating oneself with jewellery was one of the ancient practice among
women. The women of Sangam Age wore ornaments from head to foot. The
following list of ornaments of women figure in several Sangam works:
Pullakkam. Maharapakuvai. Vvantakam Valampuri. Punkulai, Kulai,
odai-malai. Ponnin. Todaivamani Malai. Pulipal Tali. Todi Valai. Kudaichchul.
Silambu. Paivagan Padagam. Sadangai. Arivegam and Kalal. A rich account
of the ornaments worn by women of the age of Cholas can be gleaned from the
literature, sculptures, paintings, and inscriptions of their times.58

Head Ornaments
Makuta

Makuta was generally worn by queens and other dignitories. The

Makuta was usually made of gold and decorated with pearls, diamonds and
rubies.59

Pillay, K.K. History of Tamil Nadu. Her people and Culture (Tamil) p.347.

59
S.I.I. II 8 Para 25, SIL II Para 3„ SJJ. II 46, Para 20.
 73

Cudamani

This is one of the important ornaments used to decorate the top of the
head of a woman. This is usually worn at the parting of the hair in the centre
of the head. Another kind of head ornament was Chuttu. It was generally a
disc-like or circular shaped ornament, suspended from the parting of the hair
by means of a small chain usually laid on the parting line on the head. As a
most favoured and common ornament it was worn by almost all the classes of
fair sex irrespective of their social position. Princess, Chauri-bearers, female
attendents, amorous ladies, and the like are seen wearing this ornament.60

Headband

The headband or head gear was worn by women. It was worn on the
forehead. It was a string made of metal or cloth and was decorated with two
rows of pearls, gems or beads. Sometimes it had a pendent hanging from the
centre.61

Ear ornaments

There was a considerable variety of ear ornaments. They were 1)

Circular metal ring 2) large metal disc 3) big gem, 4) Spiral like metal ring and

Longhurst, A.H., Buddhist Antiouite of Nagariuna Konda. Madras Presidency

Memories Archaeological Survey of India. XLV-a, XLVI-a, XXb, XX-a, XXXIII-a.
Ramachandran, T.N. Memories of Archaeological Survey of India. No.7I (Delhi 1938)
VII-B-2.

Longhurst, A.H., Buddhist Antiouite of Nagariuna Konda. Madras Presidenv

Memories Archaeological Survey of India. No.54 (Delhi 1938) XXXVI-a, XXXIV-b.
 74

5) Metal ring with a set of pearls.62 The makara form of ear ornament was

popular among the Chola princess. It resembled a fish (Makara) with twisted
terminals probably for threading. The simplest, most favoured and common ear
ornament worn was the circular metal ring. Ironically this was worn by both
sexes , even by Kings, Queens and attendants.63 Irattai-Vali (circular ear
OA.
ornament) is referred in the Kalingathuparani.

Nose ornaments

This ornament was worn on both sides of the nostril. It was embeded
with precious stones and was considered as a sign of good fortune. Usually it
cc
was worn by married ladies (Sowbhagya). A.S.Altekar suggests that the
nose ring was borrowed from Muslims.66 KKrishnamoorthy confirms the

absence of it in the early sculptures. Hence we may suggest that it was

introduced in South India including Tamilnad in the post-Chola period. The
inscriptions from Tanjore dated (Saka 1368) 1446- 1447 AD during the reign
of Devaraya II, indicates the presence of nose ornament in the Tamil
country.67

Ibid. XX-a, XLIX-a, Xl-b; ASI, AR 1930-34 PI XLV-d, SJJ. Vol.II No.53.

Periyalvar Tirumoli. 1:6:10.

Kalingathuparani. V 499.

Altekar, A.S. The Position of Women in Hindu Civilization, p.302.

ibid. XVI-d 66. S.I.I. II No.71.

67
S.I.I. - II, No.71.
 75

Neck ornaments

Neck ornaments were of two types namely Necklaces and Necklets.

Necklaces were worn loosely and freely around the neck while the necklets
adorned the neck closely. They ranged from a single string to the most
eloborate and artistic ones composed of lockets of gold. They were made of
different materials and in different forms. Beads, Pearls, Gems and Gold were
used in them. A variety of the necklaces was called ekevalli during the Chola
period. It was of a single strand bejewelled chain made out of pearls, corals,
lapis lazali and sapphires.68 Kundavai gifted this to adorn the image of her

mother. Ekavalior Ekavadam is also mentioned in literary works and in

inscriptions.

The Necklets were set with precious stones like rubies andemeralds. The
necklet consisted of a metalic circular plaque with an oblong locket in the
centre. Sometimes there were floral designs and the size of the loeklet was
large. This ornament was mostly worn by women in higher strata.

Bangles and Bracelets

These ornaments were worn on the upper and fore-arms and wrists.
They were worn both by men and women and were of different variety. Queens

68
ibid.

Kalingathuparani. Vol.321, S.I.I. II No,6, 51, 55 and 79.

70
Sivaramamoorthy, C. Sanskrit literature and Art. Mirrors of Indian Culture. Masi 73.
Calcutta 1955, P.III PI. IV Fig.29.
 76

and female attendants have worn different varieties of armlets.71 Generally

women wore bangles or kankanas and wristlets/ Prokostha valavas in

combination, the former being supported by the latter.

Chest ornament

Pun was an ornament worn by women to cover their breasts. It was

made up of Gold and set with Gems.72 During the Chola period both men

and women wore necklaces, anklets, armlets, jewelled belts (Manimekhalai)

and ear ring.73

A detailed study of these ornaments and technical terms used reveals

an astonishing variety of jewels and ornaments that were in vogue during the
Chola era. Various types of crowns forehead ornaments, ear-ring, ear-tops,
necklaces, necklets, breast plates, breast bands waist bands, armlets wristlets,
and ornaments like anklets, feet bands, gold toe rings, etc. were in use during
the Chola period. Sixty five types of jewels and ornaments are mentioned in
inscriptions of Raja Rajeswaram.

An ornament mostly resembling the present Valayil (bangle) was made

of Gold and was called Katakam. Usually they were embellished with varieties
of gems.74

71
Heinrich Zimmer The Art of Indian Asia. Its Mythodology and Transformations .(New
York. 1954) 336, 356, 36a.
72
Jivakachinthamani. V.709-(Kalser-Pun).

73 Kalithokai. Vol.54.

74
S.I.I. II No.93 Para 24, SXL II No.51 Para 39, SXL II No 8 Para 18.
 77

Modiram was the ring worn on the fingers and the ring worn on the toe
was called Tirukkal modiram.75 Rings were called Ali Angaiivam. Modiram
no
etc. Nama Modiram is an other form of ring mentioned in Perunkathai and
Jivakachintamani.77

A multi stranded necklace usually with 5,7 or 3 strands made basically

using pearls was called Panchasan/Saptasari or Trisari, Saptasari appears to
be one of the most precious bejewelled ornaments of women.78 A chain or

string of beads (Pasimani) called Tali-Manivadam was used to hold the

Tali.79 The toe ring was a popular ornament among women particularly among
Married women.80

An interesting ornament refered in Muvarula worn only by women was

called Udarabandha 81 This was a waist band or belly used round the torso

above the naval but below the breasts.

The other type is made of pearls and Gold buttons82 and Ratna Valayil

Silver bangles were worn by Tamil women.

S.I.I. II No.87 P.13, S.I.I. II No.8 P.23.

Perunkathai. Ill, 9, 70.

Jivakachinthamani. w.318, 1040.

S.I.I. Vol.II 46 Para 20 P.188.

S.I.I. Vol.II 46 P.54, S.I.I. Vol.II P.14.

S.I.I. II No.79 p.21,22.

S.I.I. II 46, Para 26, S.I.I. II No.39

82
S.I.I. II 46 Para 22.
 78

Tali

This was a pendant worn by married ladies as a sacred symbol of their

being married women. It was known as Mangalvam or Tirumangalvam.83

Varieties of Tabs are mentioned in literature such as Amaittali, Accuttali,84

Variventali, Ponniraittali, Sidarmuttali etc.

Mekhalai was a girdle worn both by women and men. It was made up
of various beads, pearls and beads of Gold85 strung together. This ornament

was used to hold the garment at the waist. Mekhalais of many rows of pearls
and beads were common.86

They were known by such names as - Kanci - 8 rows, Mekhalai - 7 rows,

Kalapam - 6 rows, Parumam - 14 -18 rows and Virisikai - 32 rows. Kalapam

on
was refered in many inscriptions.

Silambu

A leg ornament was made up of gold like a hollow tube with many

pearls and gems set inside which gives a Jingling sound. This ornament

S.I.I. II 79 P.16, JUL II No.3 & 93.

Jivakachinthamani. v:420.

Kalithokai, Vol.85.

Ah am Vol.75.
87
S.I.I. Vol.II No.46, 55 and 79.
 79

appears to havebeen worn by unmarried girls and removed at the time of

marriage. This is said to be Silambu-kalai-nonbu. 88

Coiffure

Literature amply speaks in an exemplary manner in which women of

Sangam Age attended to their hairdo. It is stated that a kind of paste was
applied to the hair and decorated with flowers89. Young girls used to adorn

their hair in two or more plaits possibly even five. But after marriage these
plaits gave place to coiffure or Kondai in Tamil. It is stated that on the
occasion of marriage the hair would be scented with pollen dust of Thalai or
other powder.90 Adorning the hairdo with jasmine appears to have been a

favourite practice among all women. An ornamental mark adorned the

forehead of all married and unmarried women and it was called Tilagam or
Pottu. Perfume was applied to the hair before combing. The different hair
styles included:

Loose knot styles: Chola queens and princess and young ladies followed this
style. The hair would be tied into a loose knot forming a loop by means of a
flower wreath.91

Kurunthokai. Vol.7: Narrinai. 279 .

Ah am 117, 389.

Ah am 141, 353, 378 Quoted By Ramachandran, C.E., Ahananuru in its Historical

Settings, p.76.
91
Sivaramamoorthy, C. Mirrors of Indian Culture. Mass 73 Calcutta 1955 Vol.2.
 80

Coiffure with or without plaits hanging down to the hips : This style could be
seen in most of the sculptures and paintings. Queens, princess and other
appear to have dressed their hair in this fashion. The hair is parted in the
middle of the head and braided into a long strip and allowed to dangle down

on the back. The ends were tassled with gold studs and with flower. This style
is still followed in modern Tamilnad but gold studs are absent.

Curled Hair: The curly hair style wasa beauty gift to women. The sinous flow
of the hair especially the small ringlets near the forehead is more or less like
an ornament. In this kind of hairdo, hair mas seen bundled over the head in a
conical form and decorated with a flower and ornaments made up of pearls.

Simple and unplaited hair grouped into a bundle: Ladies and men allowed
their hair to grow luxuriantly and combed them with ivory or wooden combs
after applying perfumed oil to the hair. Small wreaths of flowers usually
adorned the Chignon or Kondai.

Cosmetics

Love for perfumes is second only to ornaments sandal paste and saffron
powder were used for the face, breasts and other parts of the body by women.
Eyes, lips and teeth too were applied with some kind of paste.92 Different
kinds of herbal juice were used to decorate their hands, feet, fingers and toes.
Collyrium was applied to their eyelids and eyebrows with the brush called
‘Kol\ Literature refers to the practice of applying to the body sandal paste

92
Bharata. Natvasastra. 23, 20.
 81

combined with saffron.93 Sempaniu (Brazil cotton) was applied to the feet

and finger nails by women.

Tamil ladies appeared to have used make-up box (Toilet Box) which

comprised pastes, washes and unguents. Since the art of preparation and use

of cosmetics was one among the 64 arts, the women who knew all the 64 arts
was considered to be an accomplished women.94

Manial (Turmeric) was used by women and children all over the body
and face while bathing. Tamil women of all classes95 used turmeric since

post Sangam period and it continues to be in use even to-day.

Dress and ornament are the most eminent form of individual as

well as social self expression. It is at the same time an excellent embodiment

of their sense of beauty. For individual self-expression no human activity

affords so much scope to the average man or woman as does dress and

ornament or personal adornments;

This has been the case among women of Tamilnad, particularly during

the Chola and Vijayanagar periods.

Glimpses of Tamil Cultures based on Periyapuranam. Nambi Aruran, K. Madurai

1977-p.89.

Manimekalai. II, 26-27, Perunkathai. 5,1, 35.

95 Perivalvar Tirumoli. 3:2:2.