COSTUMES AND Makeup OF SHANKARIAN THEATER. Deepak Bhuyan. Sri Shankardeva of Assam, which lived in the 15th-16th centuries, will be the Indian cultural mentor, very best saint of this country. He or she spent his life inside bringing before his men and women the ideals of a good life conceived on the background associated with Krishna culture. The discussion involving costumes and cosmetics regarding his theater is one of the the first thing of Assamese culture. The outfits of Shankarian theater has been modifying tremendously in course of moment. It is not an easy task to make a apparent picture of costumes which are used in times of Shankardeva, because of non-availability involving detailed snapshot. However breaking through through some scattered data of GURU CHARIT, Dr. Kaliram Medhi, Doctor Birinchi Kr. Boruah, Dr. Bani Kanta Kakoty, and in the doctorate thesis of Dr. Maheswar Neog and also Dr. S. N
yo gabba gabba halloween costumes. Sarma drew the Shankarian theater costumes of their writings and research papers. Presumptions through various historical data of socio-political aspects are countable in this connection. Assamese miniature paintings are also the source of getting vibrant touch using the Shankarian theater costumes. With a watch to detail the subject these ramifications has been made for benefit. 1. Historical background. Two Costumes and cosmetics found in time of Shankardeva. 3. Costume as well as cosmetics used in present some time and. 4. The variance of tradition. 1. Historical history. Peoples are accustomed using native apparels from forever. No ethnic groups are located to be worn others garments forsaking their own, which they have been using from many generations. However some varieties of changes are noticed in this area. The imitations of apparels from others and setting up a new look of the imitated garments are common factors, generally observed in the past and present period. Hence the convergence and divergences are the truth of the concerned subject. The actual apparels focus the ethnic characteristics of concerned cultural groups or nations. Thus because of the identity and upkeep of tradition every national group or nation applied their own native apparels inside their art and culture as a valuable asset. The normal apparels are also a sound element of culture. Depending on the said utterance of the subject it is easy to suppose that the native apparels were utilized in the Shankarian theater from its creation. It must be stated here how the native apparels of early on period of Assam [1250 AD to 1600 Advertising ] as well as its adjoining areas were of high priced and gorgeous look. A fascinating and inspiring elaboration on this subject matter can be given from the documents of Dr. Birinchi Kumar Boruah. Dr. Boruah in their book -A Cultural History of Assam- published about the fabrics of Assam that - -- muga silk worm denotes its peculiar connection with Assam, : - The mejankari (muga ) silk can be reported by Hamilton, constituted the dress of the higher ranks most of it being dyed red together with lack. True silk, present day Assamese white Pat Silk is termed patta and is the product of Bombyx textor and Bombyx croesi which feed on mulberry trees. --- -- Embroidered cloth was also manufactured, * -- the biography of Shankardeva identifies a scroll of towel named Vrindabaniya kapor wherein the weavers regarding Tantikusi ( near Barpeta ) with coloured wools had woven the various scenes from the early life of Sri Krishna. Clothes of the people as reveled in the art forms of the period consisted of a single unstitched undergarment like the present day dhoti. This became worn wrapped round the stomach, and hardly reached below the knee. It was held tight at the waist with a girdle consisting of three or more rings fastened together by means of a knot in the centre, just below the waist line. Sometimes one end with the garment was allowed to suspend in graceful folds in the front. -- - Women too have the symptoms of worn two garments, the upper and the lower. The lower outfits 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 form of petticoat in the form of an elongated sack open at both ends. It is used by adjusting it both above the breast or throughout the waist. When adjusted throughout the waist the mekhela reaches to the ankles. The riha is a kind of ornamented scarf which is wrapped across the waist. Over the riha is placed a sort of shawl known as the chelleng. -- -- The Ahom california king and the dignitaries used to wear paguri ( head costume ). 2. Costumes and cosmetics used in time of Shankardeva. From the above statement it is proved that this garments of Assamese people were in adorable position in the early time period of Assam. According to some scriptural data it is known that california king Bhagadatta took part in the Kurukhetra battle sporting dhoti and other garments which were manufactured from Muga. Mulberry silk and muga silk was available since the ancient serious amounts of the weavers of Shankarian period has been of sound skill which can be proved from the instance of Vrindabani bastra. The actual costumes of Shankarian Theater had been made from the indigenously available fabric according to the required designs. The particular dying of the fabrics have also been another striking feature involving Assamese garments making art, containing sound historical base. In the long elaboration of historical back ground it is found that the native clothing were abundant to be used with regard to theatrical purpose and the possibilities of making use of extraneous garments are entirely exterminated.
newborn halloween costumes The cosmetics and piece of art materials of stage ended up generally vermilion ( hengul ), yellow arsenic ( haital ), indigo, chalk ( dhal ), brown ochre ( gereu ), lamp black, collyrium and mica. Female figures put vermilion marks on their front heads and a lavish splash of collyrium on the eye lashes. The particular said cosmetics and artwork materials, and other colour extracted from fruits and plants were utilised as make up materials regarding Shankarian theater. 3. Costume and cosmetics used in present moment. Dr. Maheswar Neog mentioned in his documents that much change has taken put in place the style of dress in the path of the last four centuries. In accordance with his statement the Sutradhara will be invariably dressed in white dress and it has two types of head gown: turban ( pag, paguri ), either with upright facets ( thiya-kaniya ), elliptical from bird's vision view and slightly sticking out at the front end, as observed in Kamala bari Sattra or in the style , called Muglai cover , looking like the head-gear of the Mughul emperors, using the back end protruding, or the brain dress of some of the guy Kathak dancers. - - usually Sutradharas use ready-made paguris of cloth. The later type is most regularly seen in the miniatures in outdated Assamese illuminated manuscripts. The Sutradhara puts with a thin coat coming down on the waist ( phatua ) without collar, together with or without long sleeves and with fastening or button-hole arrangement below the arm opening, and a skirt ( ghuri ) with really broad bottom ends decreasing to the ankle , resembling very much the immensely full top of Kathak dancer known as ghagara. A new thin or thick midsection band with hanging guitar strings of pearl like drops and a white neck-lace or garland complete his costume. The kings and warriors are famous by their gaudy Halloween costume. The coloured waist-coat studded with glittering glass or mica, a frilled skirt ( ghuri with several frills) , decreasing to the knee only along with a sort of tight pyjamas or a dhoti securely wound round the legs. During the last half century, these roles have been using rich, velvet jackets coming down to the knees or below them and similar jeans, coming down to a little under the knees and clothes. These meterials are generally imported from the outside of Assam. Modern cosmetics are used for make-up and painting, which cover your entire get up of modern theater. Several. The variance of traditions. Everyone will be of same opinion that the utmost variance of tradition is seen within the garments of Shankarian Theater. Which is known from various sources that the garments which were used in time of Shankardeva was purely indigenous with sublime antique. These days the garments ( costumes) used in Shankarian theater has distorted the particular glory of our tradition. These kinds of distortions have been done through the application of so called royal dresses associated with Bengali format. At the really outset of this writing it had been mentioned that the identity of a sect or any nation can be had through its garments. For the reason that garments focus the cultural characteristics of concerned racial groups or nations. Merely because of the identification and availability of tradition every ethnic group or nation have owned their own native apparels of their art and culture. Otherwise these will be rootless and shed its identity . As an instance the regular theatrical performances and costumes of Indian native people can be mentioned. Kathakoli, ---- ----- ---- all performances are the types of the said subject. In the case of Shankarian dance ( Sattriya Dance ) the dress-up costume has been approved unanimously that has saved us from the non-traditional atmosphere. So the perfection of garments to be used for Shankarian movie theater should be made as early as possible. This particular urgent and unavoidable pious job is to be done through the study of our miniature paintings of Sanshi Pator Puthi (Manuscripts created and painted on the start barking of the tree Aquilaria agallocha ). For this purpose the subsequent manuscripts can be taken - One. Ananda lahari, completed during the reign involving Ahom king Shiva Singha(1720 - 1722 AD. ) Two. Gita govinda, during the reign of Ahom master Rudra Singha ( 1695 - 1713 AD ). The little paintings of the manuscript is the fusion of Satriya and imported Muslim style. 3. The manuscripts made it through from the period of King Shiva Singha my partner and i,e, a) Sankhasur Badh. ( 1726 ) b) Uma harana
penguin costume. (1730 ) chemical) Hastividyarnava (1734 ). d) Sastha Skandha Bhagawata(1734) e) Dharma Puran (1735). Chitra Bhagawat etc. The study of various other works such as rock, bronze and terracotta of medieval origine are also countable in this respect. Great possibilities of making magnificent Shankarian cinema costumes designs from the smaller paintings of the said manuscripts and other sanchi pator puthi available in various sattras of Assam will not be denied. A unique outcome for the sake of our traditional culture and also guarding the root of cultural manifestations can be expected through this process. The present-day costumes of Shankarian theater nevertheless bears no resemblance towards the costume depicted in said manuscripts. That's the proof of our change of traditional cultural history. All the miniature paintings associated with Assam which are available today are mix of Mughal, Mongolian and Sattriya art. It is seen in the linguistic and other ethnic aspects too. The Turban involving Sutradhara is the burning example of the fashion