<p>A minute survey reveals that no two figures in Ajanta murals wear a similar costume! And, Ajanta panels, representing a Jataka or a detached episode from Buddha’s life, are a representation of a milling crowd, with people pouring in from all sides, each differently costumed, and each costume, especially that of the fairer sex, differently designed and fashioned.<br /><br />The paintings present a mystifying anarchy of textile patterns, though the main problem encountered, is the identification of different types of fabrics cotton, silk or others. But tie-and-dye work, double dyeing technique in which warp and weft are dyed separately, embroidery preserving some of the geometic patterns reminiscent of the phulkari of the Punjab, fine muslin weaving and knitting are quite visible.<br /><br />Block printing is also seen and monochromic textiles are little favoured. Ajanta murals showcase, instead, a range of designed textiles. These design comprise variously laid stripes - narrow, broad, horizontal, vertical, straight, waving, crossing each other and forming squares and rectangles, colour-alternating, spread across the entire piece. There are chess-board designs, floral patterns, four-petalled, multi-petalled, vines and more. Despite a gap of about 2000 years, the modern contemporary textile fabricators and fashion designers not only wonder at their ingenuity but also look at them for inspiration.<br /><br />Clothing was for the most part, similar for both men and women. The basic costume of ancient society was a length of cloth wrapped around the lower part of the body, and a loose fitting garment for the upper body, which was usually another length of fabric. A headdress was also worn, mainly by the men. Men also had a choice in their clothing though not as varied as the women. Men usually wore a dhoti, which is a length of fabric wrapped around the waist. This could be left as a skirt or brought through the legs and made into a trouser like garment. <br /><br />When it comes to women, at Ajanta there are umpteen number of transparent styles of cut and sewn garments . In one or two illustrations even the stitches are transparently sketched. The indoor costumes of women consisted of a waist cloth usually supported by a beaded or jewelled belt. Occasionally a breast cloth is seen and a muslin scarf. Some of the knee length dresses are tightly fitting and open up on either side or on one side. The upper garment was not common, but there are a number of examples of blouses which are short sleeved, sleeveless or long sleeved.<br /><br />Ajanta damsels knew multifarious styles of putting on a sari. Ordinarily, a sari was tied on the pelvis, wrapping both legs down to the feet. Maids, attendants and common women covered their upper part also with one third of it but not those from elite classes. <br /><br />The sari was also worn like the male dhoti or as the contemporary langad-dhoti, a style of sari prevalent in Maharashtra. The sari was wrapped around the loins down to knees and one of its ends was carried from under the two legs and was tucked behind. Sometimes, its other end was thrown over one of the shoulders like a sash. <br /><br /> Some blouses are designed with a round neck, some with v-neck and others with a collar. There are socks, parasols, fans, curtains, tapestries and a lot more. There are people with headgear. The artistic brilliance, the nimble workmanship dazzles the eye and boggles the mind.</p>
<p>A minute survey reveals that no two figures in Ajanta murals wear a similar costume! And, Ajanta panels, representing a Jataka or a detached episode from Buddha’s life, are a representation of a milling crowd, with people pouring in from all sides, each differently costumed, and each costume, especially that of the fairer sex, differently designed and fashioned.<br /><br />The paintings present a mystifying anarchy of textile patterns, though the main problem encountered, is the identification of different types of fabrics cotton, silk or others. But tie-and-dye work, double dyeing technique in which warp and weft are dyed separately, embroidery preserving some of the geometic patterns reminiscent of the phulkari of the Punjab, fine muslin weaving and knitting are quite visible.<br /><br />Block printing is also seen and monochromic textiles are little favoured. Ajanta murals showcase, instead, a range of designed textiles. These design comprise variously laid stripes - narrow, broad, horizontal, vertical, straight, waving, crossing each other and forming squares and rectangles, colour-alternating, spread across the entire piece. There are chess-board designs, floral patterns, four-petalled, multi-petalled, vines and more. Despite a gap of about 2000 years, the modern contemporary textile fabricators and fashion designers not only wonder at their ingenuity but also look at them for inspiration.<br /><br />Clothing was for the most part, similar for both men and women. The basic costume of ancient society was a length of cloth wrapped around the lower part of the body, and a loose fitting garment for the upper body, which was usually another length of fabric. A headdress was also worn, mainly by the men. Men also had a choice in their clothing though not as varied as the women. Men usually wore a dhoti, which is a length of fabric wrapped around the waist. This could be left as a skirt or brought through the legs and made into a trouser like garment. <br /><br />When it comes to women, at Ajanta there are umpteen number of transparent styles of cut and sewn garments . In one or two illustrations even the stitches are transparently sketched. The indoor costumes of women consisted of a waist cloth usually supported by a beaded or jewelled belt. Occasionally a breast cloth is seen and a muslin scarf. Some of the knee length dresses are tightly fitting and open up on either side or on one side. The upper garment was not common, but there are a number of examples of blouses which are short sleeved, sleeveless or long sleeved.<br /><br />Ajanta damsels knew multifarious styles of putting on a sari. Ordinarily, a sari was tied on the pelvis, wrapping both legs down to the feet. Maids, attendants and common women covered their upper part also with one third of it but not those from elite classes. <br /><br />The sari was also worn like the male dhoti or as the contemporary langad-dhoti, a style of sari prevalent in Maharashtra. The sari was wrapped around the loins down to knees and one of its ends was carried from under the two legs and was tucked behind. Sometimes, its other end was thrown over one of the shoulders like a sash. <br /><br /> Some blouses are designed with a round neck, some with v-neck and others with a collar. There are socks, parasols, fans, curtains, tapestries and a lot more. There are people with headgear. The artistic brilliance, the nimble workmanship dazzles the eye and boggles the mind.</p>
