Poshak

Poshak (Poshaak, पोशाक, परिधान Paridhan, परिधानम्) is the Hindi term used for the complete attire used in the vedic period. As mentioned in Sanskrit literature and Buddhist Pali literature during the 6th century BC, the costumes belonging to the Vedic and post-Vedic period 1500 BCE to 350 BCE consisted of the antariya, whichis the lower garment, the uttariya, which is a veil worn over the shoulder or the head, and the stanapatta, which is a chest band. The modernday Sari is one of the evolved poshak earlier known as Sattika (which means women's attire) that was single garment to wrap around the waist and cover the head.[1][2][3][4][5][6][7][8][9][10]

1928 Illustration of different styles of sari, gagra choli & shalwar kameez worn by women in the Indian subcontinent.

Meaning

Poshak पोशाक means a specific type of costume in English and परिधान Paridhan, परिधानम् Paridhanam,वासः Vasahवस्त्रम् Vastram (costume) in Sanskrit.[11][12] Vasna or Vastar (means dress) has two main categories vasa for lower, and Adhivasa for upper body parts, other related terms of garb used in Vedas are as following.

  • Suvasa was the term for a splendid garment
  • Suvasna for well clad
  • Surabhi for well fitting clothes.[13]

Types and styles

पोशाक,परिधान Poshak,pridhaan was a set of clothes for men and women. These clothes were common and unsewn but varied with the size and style of wrapping and draping. They have various descriptions of associated ensembles in Vedas, such as for the characters in the Ramayana and the Mahabharata. Sari, is significantly stated in the Hindu epic Mahabharata, the war took place in 3067 BCE.[10][9] [14]

Forms


Bhesha

Suna Besha is an event at the Jagannath Temple, Puri, where the Hindu deities Shri Jagannath ji, Balabhadra, and Subhadra are adorned with poshaks variety of jewelry. The rituals are similar in many other Hindu temples where the devotees offer Poshak to the deities as a part of their prayers.[15][16]

Different costumes of Vedic culture

Following sculptures in the Indian subcontinent, terracottas, cave paintings, and wood carvings conferring men and women wore the same (unstitched) clothes with various wrapping and draping styles.

  • Shaktism is a Goddess-centric tradition of Hinduism. Relief statues of Vaishnavi, Varahi, Indrani and Chamunda
  • In Shakta theology, the female and male are interdependent realities, represented with Ardhanarishvara icon. Left: A 5th century art work representing this idea at the Elephanta Caves; Right: a painting of Ardhanarishvara.
  • Yakshini wearing dhoti wrap and elaborate necklace, Mauryan period.
  • The "Mehrauli Yakshi", dated to 150 BCE, Mathura.
  • Mudgarpani Yaksha, 100 BCE.
  • Parkham Yaksha, 150 BCE.
  • Females statues wearing drapes are depicted at Dashavatara Temple.
  • Relief depicting men in antriya and uttariya, 1st century CE.
  • Hindush soldier, circa 480 BCE. He wears a Dhoti and a turban. Tomb of Xerxes I.
  • Male and female statues wearing drapes at Nachna Hindu temples.
  • Uttariya and Antriya both are visible.
  • A Mathura standing Buddha in "Samghati" monastic dress, circa 2nd century CE, Mathura Museum
  • The Buddha in checkered monastic dress in the "Subjugation of Nalagiri", Bhutesvara Yakshis, 2nd century CE, Mathura.
  • "Buddha Refuses Anupama", late Kushan
  • Bodhisattva Avalokitesvara holding lotus flower
  • The Buddha wearing kāṣāya robes, c. 200 BCE.
  • Naigamesha Jain god of Childbirth, 1st-3rd century CE.

Poetic references

Silapadikkaram indicate that during the Sangam period (third-century BCE to fourth-century CE in ancient South India), a single piece of clothing served as both lower and upper.[17]

Evolution

With changing times, social norms and the introduction of sewing developed the wraps into many attractive costumes. Uttariya became dupatta,[18] Antriya changed into the skirt(ghagra),[19] and stanapatta became choli.[20][21][22][23] Sari, of course, is evolved from these articles.[9][24][25]

  • Evidence of stitching, Mathura, 3rd century BCE. A terracotta votive figurine from Mathura. The wide hips and fantastic floral headdress suggest a devotion towards fertility and abundance. She has lotus stalks in her head, and children clinging to her. Height: 25.7 cm (10.1 ″). Mathura, 3rd-2nd century BCE.
  • Statue of the Saka Prince Chastana, with costume details. 2nd century CE. Mathura Museum
  • Plaque depicting ancient form of long choli and gagra worn during Gupta Empire
  • Statue of Kushan emperor Kanishka I (c. 127–150 CE) in long coat and boots, holding a mace and a sword, from the Māt sanctuary in Mathura. An inscription runs along the bottom of the coat: Mahārāja Rājadhirāja Devaputra Kāṇiṣka "The Great King, King of Kings, Son of God, Kanishka"
  • Women in choli (blouse) and antariya c. 320 CE, Gupta Empire
  • Painting of a Shyama Tara with a three-piece sari from Alchi Monastery.
  • Terracotta figurine in sari drape, 200-100 BCE.

See also

References
  1. ''This three-piece ensemble or poshak (generic term for costume), is mentioned in Sanskrit literature and Buddhist Pali literature of the sixth century BCE. The antariya evolved into the skirt, known as ghagra and lehenga. https://www.google.co.in/books/edition/Keywords_for_India/u6XFDwAAQBAJ?hl=en&gbpv=1&dq=P
  2. Ayyar, Sulochana (1987). Costumes and Ornaments as Depicted in the Sculptures of Gwalior Museum. Mittal Publications. ISBN 978-81-7099-002-4.
  3. Mahapatra, N. N. (2016). Sarees of India. Woodhead Publishing India PVT. Limited. p. 3. ISBN 978-93-85059-69-8.
  4. Bhandari, Vandana (2005). Costume, Textiles and Jewellery [i.e. Jewelry] of India: Traditions in Rajasthan. Mercury Books. p. 105. ISBN 978-1-904668-89-3.
  5. Gupta, Gaṇapati Candra (1963). Sāhitya vijñāna (in Hindi).
  6. शास्त्री, सुखदा (2006). वैदिक शब्दों का अर्थ-परिशीलन: वैदिक कोष नघण्टु में पठित कतिपय शब्दों का व्यापक अर्थानुसन्धान (in Hindi). Saṃskr̥ta Granthāgāra.
  7. Kilgour, Robert; Duncan, H. C.; Pradhan, G. P. (1990). Aṅgrezī-Nepalī Śabdakośa, Népalais. Asian Educational Services. pp. 18, 48. ISBN 978-81-206-0101-7.
  8. Kumar, Ritu (2006). Costumes and Textiles of Royal India. Antique Collectors' Club. ISBN 978-1-85149-509-2.
  9. "The history of sari: The nine yard wonder - Times of India". The Times of India. Retrieved 2021-01-21.
  10. Biswas, A. (2017-09-15). Indian Costumes. Publications Division Ministry of Information & Broadcasting. ISBN 978-81-230-2564-3.
  11. "English Translation of "पोशाक" | Collins Hindi-English Dictionary". www.collinsdictionary.com. Retrieved 2021-01-21.
  12. "पोशाक Poshak Meaning Sanskrit Hindi Translate Arth Kya Matlab". www.bsarkari.com. Retrieved 2021-01-21.
  13. Biswas, A. (Arabinda) (2003). Indian Costumes. Public Resource. Publications Division, Ministry of Information & Broadcasting, Government of India. ISBN 978-81-230-1055-7.
  14. Kumar, Ritu (2006). Costumes and Textiles of Royal India. Antique Collectors' Club. p. 16. ISBN 978-1-85149-509-2.
  15. Packert, Cynthia (2010-07-07). The Art of Loving Krishna: Ornamentation and Devotion. Indiana University Press. p. 149. ISBN 978-0-253-00462-8.
  16. "Puri temple Lords dazzle in gold". The New Indian Express. Retrieved 2021-01-21.
  17. Nair, Rukmini Bhaya; deSouza, Peter Ronald (2020-02-20). Keywords for India: A Conceptual Lexicon for the 21st Century. Bloomsbury Publishing. ISBN 978-1-350-03925-4.
  18. Chintaman Vinayak Vaidya, (2001) "Epic India : India as Described in the Mahabharata and the Ramayana", p.144
  19. J. Correia-Afonso, (1984) "Indica, Volume 21, Issue 2", p.126
  20. Prachya Pratibha, 1978 "Prachya Pratibha, Volume 6", p.121
  21. Agam Kala Prakashan, 1991 "Costume, coiffure, and ornaments in the temple sculpture of northern Andhra", p.118
  22. Roshen Alkazi, 1996 "Ancient Indian Costume", p.48
  23. Levick, Melba; Crites, Mitchell; Nanji, Ameeta (2008). IndiaColor: Spirit, Tradition, and Style. Chronicle Books. p. 47. ISBN 978-0-8118-5316-3.
  24. Mohapatra, R. P. (1992) "Fashion styles of ancient India", B. R. Publishing corporation, ISBN 81-7018-723-0
  25. Sachidanand, Sahay (1975) Indian costume, coiffure, and ornament. Chapter 2 'Female Dress', Munshiram Manoharlal publishers Pvt Ltd. pp 31–55
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