COSTUMES AND Makeup products OF SHANKARIAN THEATER. Deepak Bhuyan. Sri Shankardeva of Assam, who lived in the 15th-16th centuries, could be the Indian cultural mentor, finest saint of this country. He or she spent his life throughout bringing before his individuals the ideals of a good lifestyle conceived on the background involving Krishna culture. The discussion involving costumes and cosmetics regarding his theater is one of the the very first thing of Assamese culture. The halloween costumes of Shankarian theater has been transforming tremendously in course of occasion. It is not an easy task to make a clear picture of costumes that have been used in times of Shankardeva, because of non-availability involving detailed snapshot. However going through through some scattered details of GURU CHARIT, Dr.Kaliram Medhi, Generate Birinchi Kr. Boruah, Dr. Bani Kanta Kakoty, and in the doctoral thesis of Dr.Maheswar Neog as well as Dr.S.N.Sarma sketched the Shankarian theater costumes inside their writings and research paperwork. Presumptions through various historical files of socio-political aspects are countable in connection with this. Assamese miniature paintings are also the method to obtain getting vibrant touch while using Shankarian theater costumes. With a view to detail the subject the next ramifications has been made for comfort. 1.Historical background. Two Costumes and cosmetics found in time of Shankardeva. 3. Costume and cosmetics used in present some time to. 4.The variance involving tradition. 1.Historical background. Peoples are accustomed making use of 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 area. The imitations of garments from others and building a new look of the imitated garments are common factors, generally seen in the past and present period. And so the convergence and divergences are the reality of the concerned subject. The particular apparels focus the cultural characteristics of concerned racial groups or nations. Consequently because of the identity and upkeep of tradition every ethnic group or nation applied their own native apparels of their art and culture being a valuable asset. The routine apparels are also a sound issue 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 inception. It must be stated here the native apparels of first period of Assam [1250 AD to 1600 Advert ] as well as its surrounding areas were of pricey and gorgeous look. An appealing and inspiring elaboration on this issue can be given from the documents of Dr. Birinchi Kumar Boruah. Dr.Boruah as part of his book -A Cultural History of Assam- published about the fabrics of Assam that will - -- muga silk worm symbolizes its peculiar connection with Assam, -- - The mejankari (muga ) silk is reported by Hamilton, constituted the dress of the higher ranks most of this being dyed red along with lack. True silk, present day Assamese white Pat Silk is termed patta and is the product of Bombyx textor as well as Bombyx croesi which feed on mulberry trees. --- -- Stitched cloth was also manufactured, - -- the biography of Shankardeva refers to a scroll of fabric named Vrindabaniya kapor wherein the weavers regarding Tantikusi ( near Barpeta ) with coloured yarns had woven the various views from the early life of Sri Krishna. Clothing of the people as reveled in the art forms of the period consisted of an individual unstitched undergarment like the present day dhoti. This was worn wrapped round the midsection, and hardly reached under the knee. It was held tight at the waist by 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 from the garment was allowed to hang in graceful folds in the front. -- - Women too appear to have worn two garments, the top of and the lower. The lower garments descended from the stomach to the ankles and was fastened by means of Navibandha . Now their outfit comprises of three garments namely, mekhela, riha and chelleng. The mekhela is a form of petticoat in the form of an elongated sack available at both ends. It is worn by adjusting it both above the breast or across the waist. When adjusted round the waist the mekhela reaches towards the ankles. The riha is a kind of decorated scarf which is wrapped across the waist. Over the riha is placed a sort of shawl known as the chelleng. -- -- The Ahom king and the dignitaries used to wear paguri ( head costume ). 2. Costumes and cosmetic makeup products used in time of Shankardeva. From the earlier mentioned statement it is proved that this garments of Assamese people were in adorable position in the early period of Assam. According to some scriptural information it is known that master Bhagadatta took part in the Kurukhetra battle donning dhoti and other garments which were made of Muga. Mulberry silk and muga silk was available since the ancient some time to the weavers of Shankarian period had been of sound skill which is proved from the instance of Vrindabani bastra. The costumes of Shankarian Theater ended up made from the indigenously available materials according to the required designs. The dying of the fabrics have also been another striking feature of Assamese garments making art, containing sound historical base. In the long elaboration of historical back ground it really is found that the native outfits were abundant to be used for theatrical purpose and the possibilities of employing extraneous garments are absolutely exterminated. The cosmetics and portray materials of stage have been generally vermilion ( hengul ), yellow arsenic ( haital ), indigo, chalk ( dhal ), brown ochre ( gereu ), lamp black, collyrium and mica. Female figures put vermilion marks on their forefront heads and a lavish a little collyrium on the eye lashes. The said cosmetics and piece of art materials, and other colour purchased from fruits and plants were utilized as make up materials regarding Shankarian theater. 3.Costume and cosmetics used in present occasion. Dr. Maheswar Neog mentioned in his writings that much change has taken place in the style of dress in the course of the last four centuries. As outlined by his statement the Sutradhara is invariably dressed in white dress and it has two types of head gown: turban ( pag, paguri ), either with upright attributes ( thiya-kaniya ), elliptical from bird's eyesight view and slightly protruding at the front end, as observed in Kamala bari Sattra or in the style , called Muglai cap , looking like the head-gear of the Mughul emperors, with the back end protruding, or the mind dress of some of the men Kathak dancers. - - usually the 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 towards the waist ( phatua ) without collar, along with or without long masturbator sleeves and with fastening or button-hole arrangement below the arm opening, and a skirt ( ghuri ) with extremely broad bottom ends coming down to the ankle , resembling greatly the immensely full blouse of Kathak dancer known as ghagara. Any thin or thick midsection band with hanging post of pearl like ovoids and a white neck-lace or garland total his costume. The kings and warriors are known by their gaudy Halloween costume. The coloured waist-coat studded with glistening glass or mica, a frilled blouse ( ghuri with several frills) , decreasing to the knee only along with a sort of tight pyjamas or a dhoti securely wound round the legs. Over the past half century, these jobs have been using rich, velvet jackets coming down to the knees or perhaps below them and similar trousers, coming down to a little beneath the knees and clothes. These meterials are generally imported from the outside of Assam. Modern cosmetics can be used make-up and painting, which cover your entire get up of modern theater. Four.The variance of traditions. Everyone will be of identical opinion that the utmost deviation of tradition is seen in the garments of Shankarian Theater. Which is known from various resources that the garments which were utilized in time of Shankardeva was purely local with sublime antique. These days the garments ( costumes) employed in Shankarian theater has distorted the actual 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 very outset of this writing it was mentioned that the identity of an sect or any nation can be had through its garments. Because the garments focus the national characteristics of concerned ethnic groups or nations. Merely because of the identification and maintenance of tradition every ethnic group or nation have used their own native apparels in their art and culture. In any other case these will be rootless and get rid of its identity . As an instance the original theatrical performances and costumes involving Indian native people can be described. Kathakoli, ---- ----- ---- all performances are the types of the said subject. In the case of Shankarian dance ( Sattriya Dance ) the costume has been approved unanimously which has saved us from the unusual atmosphere. So the perfection regarding garments to be used for Shankarian cinema should be made as early as possible. This specific urgent and unavoidable pious career is to be done through the study of our own miniature paintings of Sanshi Pator Puthi (Manuscripts composed and painted on the start barking of the tree Aquilaria agallocha ). For this purpose the following manuscripts can be taken - A single.Ananda lahari, completed during the reign of Ahom king Shiva Singha(1720 - 1722 AD.) Two.Gita govinda, during the reign of Ahom king Rudra Singha ( 1695 - 1713 AD ). The miniature paintings of the manuscript is the combination of Satriya and imported Islamic style. 3.The manuscripts made it through from the period of King Shiva Singha my spouse 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. Vast possibilities of making magnificent Shankarian movie theater costumes designs from the miniature paintings of the said manuscripts and other sanchi pator puthi available in various sattras of Assam may not be denied. A unique outcome in the interest of our traditional culture and guarding the root of social manifestations can be expected through this process. The present-day costumes of Shankarian theater even so bears no resemblance towards the costume depicted in mentioned manuscripts. That's the proof of our change of traditional cultural customs. All the miniature paintings involving Assam which are available today are mix of Mughal, Mongolian and Sattriya art. It is observed in the linguistic and other national aspects too. The Turban regarding Sutradhara is the burning example of the design and style