The objective of the present research was to investigate the significance of the depiction of an

unlimited variety of costumes and jewelry in the sculptural art of Gandhara with a comparative
and analytical approach. Another aim was to examine the continuity of fashions and trends
prevalent during the period under review up to the modern period. On the basis of the study of
costumes and jewelry depicted in Gandhara sculptures, an effort was made for the socio-
economic reconstruction of the ancient Gandhara region. To achieve the above mentioned
objectives, specimens of Gandhara art present in the Archaeological Museums of Taxila, Swat and
Peshawar, Archaeological Museum, Peshawar University, National Museum of Pakistan, Karachi,
British Museum, London, Victoria & Albert Museum, London and various internet archives were
thoroughly studied. Though the present research is based on the sculptures pertaining to
Gandhara art, important sculptures belonging to other schools of arts have also been included in
the study with intent of comparison. The results of the study of coiffures depicted in Gandhara
sculptures revealed that the natives of Gandhara had a strong desire to keep themselves neat
and well groomed for which they used to style their hair variously. Buddha was depicted with
variously styled hair gathered in usnisa at the top of head. Bodhisattvas usually appear with
hairstyles imitated from the Greek and Roman gods. Long curly hair sometimes gathered at the
top in a bun were the most preferred style of the males. Females were often shown in a bun at
the nape or in a large braid hanging up to hips. The study of coiffures had been a source of
observing the status of individual too. Those belonging to royal status and deities were shown
with neatly combed coiffures while poor individuals with matted hair. The majority of hairstyles
depicted in the Gandhara sculptures were either South Asian in continuance or created in
Gandhara, which afterwards accessed up to eastern India. Merely few were imported from the
West. The present study has also brought to light a variety of male and female headdresses
shown in the Gandhara sculptures. The most common male headdress being turban was
elaborately decorated. Strange motifs were used to embellish them which are not found
elsewhere. Turban is exclusively a South Asian headdress which was being used previously in the
earlier South Asian arts. Turbans are still being used by the males in various regions of South Asia.
It is also used by the males of Muslim and Sikh community. Wreaths, crowns, caps and helmets
are influenced from the Scythian, Greek and Roman prototypes. Females were mostly depicted
wearing wreaths which were more decorated if worn by Maya or Hariti. Veils were also in use
which resembles the Greek himation and Roman palla. Veil in various forms like dupatta, shawl or
stole is still worn, in various modes, by the females of South Asia. Buddha was depicted without
any headdress. The research has also discovered that costumes represented in Gandhara
sculptures were mostly of South Asian origin since their prototypes can be noticed in the earlier
arts of the region, their modes of drapery may vary from region to region. However, Western
influences are also discernible. Besides unstitched clothes, cut and sewn clothes were equally
favored. Interesting blends of local and foreign costumes, such as tunic with dhoti etc., indicate
the intermingling of South Asian and Western ideas, which were well at work due to continuous
foreign influx in the region. Comparisons with other arts disclosed that females, besides very few
nude or seminude representations, were usually depicted in complete costume seldom exposing
their body. It was, perhaps, in accordance with the Buddhist teaching which strictly disallowed
the body exposure. Their sophisticated depiction also signifies the respect of females in the
society. Much of the variety of costumes, with few modifications, continues up to present. The
present research also discovered striking and unique designs of various jewelry items, such as
diadems, earrings and necklaces bearing animal motifs, depicted in Gandhara sculptures which
were not noticed elsewhere. Ornaments being used earlier in South Asia were also in vogue,
while few were a result of foreign importation. Many of them show similarity with the real
jewelry discovered from Taxila and Tillya Tepe, Afghanistan which attest the use of similar
ornaments by the natives of ancient Gandhara region. Numerous jewelry ornaments depicted in
the sculptures are still used and serve as a model for the present jewelry. The abundant jewelry
worn by rich and poor alike signifies that the region enjoyed prosperity during the period under
study. The current study of costumes and jewelry depicted in Gandhara sculptures indicates the
presence of a dedicated class of tailors, goldsmiths and jewelry makers were present in the
region, whose work were duplicated in the sculptures by the artists. The study also acknowledges
the expertise of Gandhara artists who had such a control over their skills that anything they came
across they duplicated it in stone. The present study though focused on the study of jewelry and
costumes also disclosed that despite of the political instability the economic conditions of
Gandhara, during the period under review, remained stable. It was the wealth of the region
which attracted people from distant places to visit the region which is endorsed by the scenes
showing individuals wearing foreign headdresses and costumes in the presence of Buddha. The
social conditions of the region were also unveiled through this study. A joyful and pleasant life
style of the inhabitants of Gandhara is indicated. It was observed that the lives of the inhabitants
of Gandhara had endless range of opportunities. The individuals from various social statuses
were presented wearing jewelry and costumes according to their professions.