NATYASASTRA

 The Nāṭya Śāstra is a Sanskrit Hindu text on the performing arts.

 In Natya Shastra we see great emphasis laid on the rules of the costumes and make-up.
 The performers and dancers use costume and makeup along with gestures to complete
their representation of the characters they portray.

Nāṭya Śāstra is Written by the great dramatist of ancient India, Bharata Muni, Natyashastra is
known as the poetics of Indian drama. Bharata muni in his Natyashastra demonstrates every
aspect of Indian drama whilst covering areas like covers music, stage-design, make up, dance and
virtually every aspect of stagecraft.

All women around the world would agree with Bharat Muni over the importance of wearing right
accessories with the right outfit for the right occasion. The pointers giving in Natya Shastra for use
of decoration or accessories in a production are very much reflection of what accessories people
used in real life based on their social status and region. The Decorations as they are called in
Natya Shastra are categorized in three parts:

1. Garlands

2. Ornaments

3. Drapery

The Garlands: The Garlands are further categorized in to five kinds, encircling or vestita, spread
up or vitata, grouped or sambhatya, knotted or granthima and hung down or pralambita. Even
today on festive occasions we can see women adorning their hair with garlands in fact no Indian
bridal make-up is incomplete without a Gajara (knotted or hung down garland).

Ornaments: Ornaments play a very important role in completing the look of a character a
performer is representing. For example if the performer is portraying a noble character, his or her
ornaments will be more elaborate and made to look like gold or precious jewels while if the
character played is that of an ascetic (religious person: avoiding physical pleasures and living a simple
life )then the ornaments will be toned down like a simple necklace of prayer beads. Ornaments
are categorized into to four types:
1. Piercing ornaments include ear ornaments such as ear-ring (kundala), ear pendant
(mocaka), and ear top.

2. Tied-up ornaments (bandhaniya) consist of girdles and arm-band

3. Ornaments to be worn consist of ornaments like anklets.

4. Ornaments to be put around consist of ornaments like neck chain, necklaces and waist
ornaments.

Natya Shastra has further elaboration on what ornaments should be worn by men and women.
The ornaments categorized for men consists of head gear like a crown or crest-jewel, ear
ornaments, neck ornaments, finger ornaments like kataka , ornaments for forearm like valaya,
wrist ornament like bracelet, ornaments to be worn above the elbow like armlet, breast ornaments
like three stringed necklace, waist ornaments like sutra.

For ornaments categorized for women are pearl net for head

ornaments ,tilaka for forehead, karnika or the sikhipatra which is the lotus shaped ornament worn
in the braid, pearl or gold necklace for the neck, arm and finger, ornaments like bangles and
armband and hip ornament like the Kalapa, anklets and toe rings.

Natya Shastra however warns against the over use of ornaments on a performer which could lead
to fatigue while making prolonged movements. Thus the use of lac instead of pure gold to make
ornaments for production is encouraged.

Drapery:

 Costumes help to distinguish between the characters in the production

 example Yaksa or apsarasas are to be dressed with more elaborate and bright costumes and jeweled
ornaments
 while performer who plays the role of women who are seprated from their lover, should be in white,
and they are not to wear many ornaments.
 Thus the dresses of women or man should be according to their habitation and condition.
 Though these rules might sound too difficult to follow we see wide adherence to these rules of
decoration in modern productions and plays even today.
 Like in a Russian Ballet the dancer playing the darker character will always be dressed in black
while white is worn to show the purity and good character played by the dancer.
 If we look at afro dances we see that they use costumes made of more earthy tones and animal print,
draped in such a way that it would allow the dancers more freedom for their vigorous movements.