COSTUMES AND Cosmetic makeup products OF SHANKARIAN THEATER. Deepak Bhuyan. Sri Shankardeva of Assam, whom lived in the 15th-16th centuries, will be the Indian cultural mentor, greatest saint of this country. He spent his life inside bringing before his people the ideals of a good living conceived on the background associated with Krishna culture. The discussion involving 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 transforming tremendously in course of moment. It is not an easy task to make a obvious picture of costumes which are used in times of Shankardeva, because of non-availability of detailed snapshot. However breaking through through some scattered information of GURU CHARIT, Dr. Kaliram Medhi, Dr Birinchi Kr. Boruah, Dr. Bani Kanta Kakoty, and in the doctoral thesis of Dr. Maheswar Neog and also Dr. S. N. Sarma drew the Shankarian theater costumes of their writings and research paperwork. Presumptions through various historical data of socio-political aspects are countable in this connection. Assamese miniature paintings are also the way to obtain getting vibrant touch using the Shankarian theater costumes. With a view to detail the subject the subsequent ramifications has been made for ease. 1. Historical background. Two Costumes and cosmetics used in time of Shankardeva. 3. Costume and cosmetics used in present time and. 4. The variance associated with tradition. 1. Historical track record. Peoples are accustomed using their native apparels from forever. No ethnic groups have emerged to be worn others apparels forsaking their own, which they have been using through many generations. However some kinds of changes are noticed in this industry. The imitations of clothing from others and creating a new look of the imitated apparels are common factors, generally affecting the past and present period. Hence the convergence and divergences are the truth of the concerned subject. The particular apparels focus the national characteristics of concerned national groups or nations. Consequently because of the identity and maintenance of tradition every national group or nation applied their own native apparels inside their art and culture like a valuable asset. The routine apparels are also a sound aspect of culture. Depending on the mentioned utterance of the subject it is easy to assume that the native apparels were used in the Shankarian theater from its beginning. It must be stated here that this native apparels of earlier period of Assam [1250 AD to 1600 Advert ] as well as its surrounding areas were of high priced and gorgeous look. An interesting 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 will - -- muga silk worm means its peculiar connection with Assam, - - The mejankari (muga ) silk is actually reported by Hamilton, constituted the dress with the higher ranks most of the idea being dyed red with lack. True silk, the modern Assamese white Pat Silk is called patta and is the product of Bombyx textor along with Bombyx croesi which feed on mulberry trees. --- -- Stitched cloth was also manufactured, * -- the biography of Shankardeva is the term for a scroll of cloth named Vrindabaniya kapor wherein the weavers associated with Tantikusi ( near Barpeta ) with coloured yarns had woven the various displays from the early life of Sri Krishna. Clothing of the people as reveled in the sculptures of the period consisted of just one unstitched undergarment like the present day dhoti. This became worn wrapped round the midsection, and hardly reached beneath the knee. It was placed tight at the waist with a girdle consisting of three or more groups fastened together by means of a troubles in the centre, just below the waist line. Sometimes one end with the garment was allowed to suspend in graceful folds right in front. -- - Women too seem to have worn two garments, the upper and the lower. The lower clothing descended from the stomach to the ankles and was mounted by means of Navibandha . Now their costume comprises of three garments particularly, mekhela, riha and chelleng. The mekhela is a sort of petticoat in the form of an elongated sack available at both ends. It is put on by adjusting it possibly above the breast or around the waist. When adjusted across the waist the mekhela reaches to the ankles. The riha is a kind of ornamented scarf which is wrapped throughout the waist. Over the riha is placed some sort of shawl known as the chelleng. -- -- The Ahom california king and the dignitaries used to wear paguri ( head costume ). 2. Costumes and makeup products used in time of Shankardeva. From the earlier mentioned statement it is proved the garments of Assamese people were inside adorable position in the early period of Assam. According to some scriptural data it is known that master Bhagadatta took part in the Kurukhetra battle putting on dhoti and other garments which were made of Muga. Mulberry silk and muga silk had been available since the ancient some time to the weavers of Shankarian period had been of sound skill that is proved from the instance of Vrindabani bastra. The actual costumes of Shankarian Theater ended up made from the indigenously available materials according to the required designs. The actual dying of the fabrics have also been another striking feature associated with Assamese garments making art, which includes sound historical base. Actually elaboration of historical back ground it can be found that the native garments were abundant to be used for theatrical purpose and the possibilities of making use of extraneous garments are completely exterminated. The cosmetics and painting materials of stage had been generally vermilion ( hengul ), yellow arsenic ( haital ), indigo, chalk ( dhal ), brown ochre ( gereu ), lamp black, collyrium and mica. Female personas put vermilion marks on their forefront heads and a lavish a little collyrium on the eye lashes. The particular said cosmetics and piece of art materials, and other colour extracted from fruits and plants were chosen as make up materials of Shankarian theater. 3. Costume and cosmetics used in present period. Dr. Maheswar Neog mentioned in his articles that much change has taken place in the style of dress in the path of the last four centuries. As outlined by his statement the Sutradhara will be invariably dressed in white outfit and it has two types of head dress: turban ( pag, paguri ), either with upright attributes ( thiya-kaniya ), elliptical from bird's vision view and slightly stuffed at the front end, as affecting Kamala bari Sattra or in the style , called Muglai cover , looking like the head-gear of the Mughul emperors, with all the back end protruding, or the brain dress of some of the guy Kathak dancers. - - usually the Sutradharas use ready-made paguris of cloth. Your later type is most frequently seen in the miniatures in old Assamese illuminated manuscripts. The Sutradhara puts on a thin coat coming down on the waist ( phatua ) without collar, along with or without long fleshlight sleeves and with fastening or button-hole agreement below the arm pit, and a skirt ( ghuri ) with really broad bottom ends decreasing to the ankle , resembling quite definitely the immensely full skirt of Kathak dancer known as ghagara. A thin or thick waistline band with hanging strings of pearl like drops and a white neck-lace or garland complete his costume. The kings and warriors are recognized by their gaudy Outfit. The coloured waist-coat studded with glittering glass or mica, a frilled top ( ghuri with several frills) , coming down to the knee only plus a sort of tight pyjamas or a dhoti firmly wound round the legs. Throughout the last half century, these tasks have been using rich, velvet coats coming down to the knees or even below them and similar trousers, coming down to a little down below the knees and hosiery. These meterials are generally imported from outside of Assam. Modern cosmetics can be used make-up and painting, which cover the whole get up of modern theater. Four. The variance of custom. Everyone will be of exact same opinion that the utmost difference of tradition is seen within the garments of Shankarian Theater. Because it is known from various resources that the garments which were used in time of Shankardeva was purely local with sublime antique. However the garments ( costumes) utilized in Shankarian theater has distorted the glory of our tradition. These kind of distortions have been done through using so called royal dresses associated with Bengali format. At the really outset of this writing it absolutely was mentioned that the identity of the sect or any nation can be had through its garments. For the reason that garments focus the cultural characteristics of concerned national groups or nations. Simply because of the identification and maintenance of tradition every racial group or nation have been using their own native apparels of their art and culture. Otherwise these will be rootless and shed its identity . As an instance the standard theatrical performances and costumes of Indian native people can be mentioned. Kathakoli, ---- ----- ---- all performances are the types of the said subject. In case of Shankarian dance ( Sattriya Dance ) the dress-up costume has been approved unanimously containing saved us from the unusual atmosphere. So the perfection associated with garments to be used for Shankarian theatre should be made as early as possible. This kind of urgent and unavoidable pious task is to be done through the study of each of our miniature paintings of Sanshi Pator Puthi (Manuscripts written and painted on the start barking of the tree Aquilaria agallocha ). For this purpose the following manuscripts can be taken - One particular. Ananda lahari, completed during the reign of Ahom king Shiva Singha(1720 - 1722 AD. ) 2. Gita govinda, during the reign of Ahom king Rudra Singha ( 1695 - 1713 AD ). The small paintings of the manuscript is the fusion of Satriya and imported Islamic style. 3. The manuscripts lasted from the period of King Shiva Singha my partner and i,e, a) Sankhasur Badh. ( 1726 ) b) Uma harana. (1730 ) c) Hastividyarnava (1734 ). d) Sastha Skandha Bhagawata(1734) e) Dharma Puran (1735). Chitra Bhagawat etc. The research into various other works such as stone, bronze and terracotta involving medieval origine are also countable in this respect. Substantial possibilities of making magnificent Shankarian theatre costumes designs from the small paintings of the said manuscripts and also other sanchi pator puthi available in various sattras of Assam is probably not denied. A unique outcome in the interests of our traditional culture and also guarding the root of national manifestations can be expected through this process. The particular present-day costumes of Shankarian theater however bears no resemblance on 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 combination of Mughal, Mongolian and Sattriya art. It is noticed in the linguistic and other social aspects too. The Turban of Sutradhara is the burning example of the fashion