Cosmetics & Perfumes in Sanskrit Literature (M. Padmanabha Marathe)

62 4TdT 4 ?R4Ig

fftcM 44§f§MFT II

3Wt frffiSE 63 (rFFSJH (lO^TORFPT

3# I MB Sffef appendix p 647

<^(T flFJbd'ddldl MB

63-30

II Ibid 57-35

64 Mim'itdliW 1(4 4^44 444lPddH I g44§ldcbu<5lHIHtlqim 3d KWH]

’MW SSIFIT

29

||

gsfitTO || MB snfcqg 213-44-45

c) Krtnma Artificially produced from fermented substances like molasses which is dear to gods, Danavas, Bhutas 85 men 65 The references like Pradipaih Kancanaistatra Gandhatailavasecanaih (lamps used to be filled with perfumed oil), Gandhacurnavacurnitah (fragrant powder was used for face & body),Sugandhacitrastaranopapannam Sayanam (bed-sheets were variegated and scented) 8s Gandhamalyarcitam Saram (the arrow is worshipped with sandal paste 85 flower garlands) indicate the varied use of Cosmetics & Perfumes A great variety of articles of Cosmetics 86 Perfumes were commonly used 8s also were given as gifts for religious purposes m the age of Mahabharata For instance, at the time of Rajasuya, the representatives of Arab 85 other regions have given the aromatic articles like Aguru along with other items as gift.66 In Drona Parva, while describing the process of taking bath by Yudhisthira, the reference to sandal, scented water 8s red sandal paste is mentioned 67 While entering Krsna to the Khandava Prastha, the roads were fumigated 65 MB aqsiRFTCcf 101-38-43 66 MB frt 34-36

m\ HFFJf ^TS I ^8 tqqdfWt I *[5ERft

67

HJWg

HldlWWIS W W II

^5 ||

tl#

qi'4Ww#=$g I 3Wf!cl8 cbmilq cr^fes ^TTSTcfS II

swsraftfttr

tr iiwntr

%

i

w#rq aw s®#* fsifaraifqcH 11 1 ^'T|T wpjjts 11

4lR?IH.=l*H8 JTH3?I8 5Tlo5#rg f^RTS ||

MB StW 58-8-13

30

with Aguru & decorated with various aromatic flowers 68 It was also believed that the gift of aromatic substance is meritorious 69 Thus, whatever might be the differences among scholars about the date of Mahabharata, the students of Cosmetics & Perfumery can not afford to neglect the vast material provided by it 12 3 Puranik Literature Generally, Puranas deal with five characteristic topics viz Sarga (creation or evolution of universe), Pratisarga (re-creation of the world from its constituent elements in which it is merged at the close of Kaipa 1 e.aeon), Vamsa (genealogies of gods, sages, kings etc ), Manvantara

(cosmic cycles, each of which is ruled by a Manu) and Vamsanucarita (accounts of royal dynasties) 70 Along with these 5 characteristics, they contain important information on social development, life styles etc Dr Rajendra Prasad Hazra says “ from the 4th century A D the Hindus began to feel keenly the necessity not only ofpopularizing the study of different branches of learning

but also of

68

tfrs sftfte ZSfJrlPJW

69 4 rtfrm

II MB213-32,33

§TTOT

5RI%

I

qRfftTS d ^ ^tfrRSkrs II MB

70 Wd

gRKPfed cffltWcRlfb A I

SRIfpRd Vide

101-44

rfa 3IM

II

The student’s Sanskrit -English Dictionary V S Apte

31

p 342

increasing the importance of the Puranas as repositories of knowledge ”71 Accordingly, an encyclopedic character is found m the Puranas Regarding the Cosmetics 8s Perfumery ideas, almost all Puranas have passing references ; but special importance attaches to Agmpurana, Kahka Purana and Visnudharmottara Purana Out of these three, Agm is a Mahapurana and Kahka and Visnudharmottara are Upapuranas Agmpurana is having encyclopedic nature containing almost everything of general interest This is though a Mahapurana, its compilation date is later than the Upapurana Visnudharmottara The probable time of its compilation is 9th century AD72 “

Visnudharmottara is most important and interesting in the whole range of

Upapurana literature ’’says R P Hazra.73 This is an extensive work containing many ideas of human life “This must have been compiled between 400 & 500 A.D either in Kashmir or in the northern most part of Panjab . " opines Dr Hazra

74

Kahka Purana is regarded as one of the most authoritative works on Sakti worship Primarily, this deals with the worship of Kahkamata While discussing the connected topics on worship, we come across with social customs 8s manners This was written probably m the 10th or 11th eentuiy A D accordmg to Dr Hazra

75

71 Cultural Hentage of India(CHI) The Ramaknshna Mission, Culcutta p 268 72 Ibid p 270 73 Ibid p 277 74 Ibid p 278 75 Ibid p 281

32

These three Puranas have drawn speical attention as they

have

preserved the summaries & ideas on Cosmetics & Perfumes The ideas of Gandhayukti are discussed m the 64th chapter of II Khanda of Visnudharmottara Parana In Agnipurana, they appear m 224th chapter while discussmg Rajadharma as to Kamasastra In Kalika Purana, these details are described as accessories for religious worship m 73rd chapter

A glance over contents of Cosmetics & Perfumery The 64th chapter of Visnudharmottara Purana (hereafter termed as VDP) starts with narrating eight processes m manufacturing the Cosmetics & Perfumes They are : (1) Sodhana (2) Vasana (3) Virecana (4}Bhavana {5)Paka (6)Bodhana (7)Dhupana &(8)l/asanam 76 Here the Vasanam process is repeated twice A detailed discussion of the processes is explained as under In the first manufacturing process i e Sodhana, the product to be aromatised is to be cleansed with the decoction of leaves of Kapittha, _

—

-

Bilva,Jambu,Amra & Bijapuraka

77

It further says, m the absence of above _

materials,this process can be fulfilled with the water of musk or Musta

76

eTRR

cftfcf W

I

fPHr *k 414^ cfRR Ik

kfe

rWT II cFfefipk SJSPT II VDP 64 - 1 & 2a

77

II cptecfi- jj

stlkd

g clef I Ibid 64 - 2b & 3a \

78 k#

R^lrf I

rCTlI g 4xkl detf g?dF41T fer II VDP 3b & 4a

33

78

When the substance gets dried, then it has to be again merged with the water of Pahcapallava 85 to be boiled till it dries Then the powder is to be mixed with Haritaki 8s again it has to be cleansed with Pathya This is termed as Virecana 79 Then the same is to be saturated with the aromatic ingredients like Kunkuma This saturation is called Bhavana 80 Then the product is to be kept m two concave mud pots 85 boiled ; this is termed as Pacana or Paka 81 Then the paste of the products mentioned m Bhavana process is to be added, this is Bodhana,82 Again for perfuming the base substance, it has to be fumigated with Aguru, Sukti, Candana, Karpura & Mrgamada, this is Dhupana 83 79 goqj

3^21 T*mrcUc|lRull

||

dSTfi&T I

ddTdta gd8 JdS II ^ dSTtftd

^4 rM

dd8 taT qoc|^c|c||Ru|| |I rFT qsziTcPfl^

I W|^|

dcMc^UddH II Ibid 64-4b to 7

The Ho^Mwicis for processing in cosmetic 8s perfumery Industry are : dl'd'itcb 8s fcf^f leaves Vide

ariw^fcRejHT ’Pdcfi’ffrr

80cfcRg

I

45#T UoUMcdclIS II

26-444

^HlRHI I 4TddT dl 5n£MdT II VDP 64-8

81 ipr

3 ^4% 4iHHd.il I 3d8 gd8 II

dicld

cfcfT^^ni4n^4i^idl

wnd^rarH 82 dddj

Ids I

it w qi^fer 11 ibid 64-10,11

diddle cfojcbplu PldT-d^d I

cb^lqS ddT ^zr zftsR qMfddd II Ibid 64-12

83 dddj 3^1^ S=zi

g W|

ddstld g

I

eldtg

d^dFJdPTddS II

^dtdSRFT did dd dfefed W II Ibid 64-13,14

34

After Dhupana, the product is to be converted m to pills,these pills are again to be dipped m the perfume of Bakula.Jati & other aromatic flowers,this is called Vasanam 84 Further it is directed that these eight processes are to be performed m case of Niryasa (Exudation) and Puspa(flowers) and not m case of any other substances 85 Agnipurana (hereafter termed as AP)also mentions these processes with slight variation It reads sfrniw m ?$dd RiVhh i W tfd

dm P<£FT ddT II

dRFT %d ftfdS cFrfSdftd PJcPT I AP 224-20,2 la

No detail description of each process is found here m AP. Dhupas The word Dhupa is derived from the root ‘gf WIN + /w ‘3JW* It is very popular method 85 ancient practice of getting aroma The term Dhupa is explained m Kahka Purana (here after termed as KP)as under diRFRd cfimFI

y'ddPtdtPl d I

WFdTddT d

©Idig

dTdrT II

^rf fafdt

dtWTFRd dRHT fedcf § dl I

4rht tn foftfer cb^iiiH spri vdp64- 15,16 85 FrakMT d 3®qFfT cpfesfe %dT

e&PPPdd

Pd II dFTd I Ibid 64-18b & 19a

35

I

KP 73-33

i e When the aromatic substances are burnt, the fume which comes out from burning is called Dhupa It further adds that Dhupa appeases the gods 86 & has medicinal benefits too

87

Even the whole living creature is pleased with this

88

There are five ways of getting aromas for Dhupas They are (l)Niryasa (exudation) (2) Paraga (pollen) (3) Kastha (stick) (4) Gandha (concentrated aroma) & (5) Krtrima (artificial l e mixture of many items) VDP enlists twenty one Dhupadravyas They are

89

Nakha, Kustha, Ghana,

Mamsi.Sprkka, Saileyaka, Jala, Kunkuma.Laksa, Candana.Aguru, Nata, Sarala, Devakastha,Karpura,Karta,Bola,Kanduraka,Guggula,Srinivasaka & Sarjarasa 90 It is further said that the incenses should be created from the above substances directly without subjecting them to the earlier eight processes

91

Preparation method for making different incenses from any two of above ingredients with the essence of Saga by mixing with 86 ^tRT

I KP 73-34a

87

I Ibid 73-32b

88 2m

89

$T% gfe Wlf%

ww

cot

w

I Ibid 73-43a

^i

fBra%frT qo^cl SfTO ifflcmrs W li Ibid 73-43b 6g 44a

90

fS SFF 41# Ppi fl#W

^

wf:

I ^I

cfiTRfqnr W II li II VDP 64-20b to 22

These verses alsp appear in AP 224-23 to 25a 91

II VDP 64-19b

36

Nakha.Pmyaka & Malaya along with honey is also mentioned

92

KP gives following names of some different ingredients from the above list They are . Sncandana,Sarala,Sala,Krsnaguru,Udaya, Suratha, Skanda, Raktavidruma, Pitasala, Panmala, Vimardi, Kasala, Nameru,Devadaru, Bilva, Sara, Khadira, Santana, Parijata, Hancandana & Vallabha The Dhupa from above is

applicable to all

93

Further a categorical allotment is also seen Certain

regulations are also prescribed m using them.The Dhupakalpa of Kalika Purana is concluded with the statement Caturvargaprado Dhupah i e Dhupa

fulfills four aims of human life viz Dharma, Artha.Kama & Moksa Snana Dravyas ( Bath powders) -

Aromatised bathing powders were constituent of Cosmetics & Perfumery VDP mentions the ingredients to be used m baths They are - Tvaca, Jatiphala, Taila, Kunkuma, Granthiparnaka, Saileya, Tagara, Kastha, _ - 94

Tambula, Mamsi, Sarava, Kustha along with Kasturi

92 t £

MRTd tphtpl

yptim 93 ter

ddfR ifipT ddT II

fens ll VDP 64-23,24a - cf AP 224-26,27a Xt

9TW8 <£W|I^Wm II

Rd%T TFT w I qfPM fe$WT?Rd?IT II

%T3TM§ ddTdS

I

qifaldSS

II

^ SJRS trfWT iftta ^RdfelS I KP 73-35b to 38a

94dtw sneta ciw fgd uRsjwpti IRRt cPK im dF^ ddt ddT II Mid)

dlld

W Md£
MRFT WA dd dR

I || VDP 164-25 to 27a

37

AP (224-27b to 29) mentions Karpura instead of Tambula m the above list, others are being the same Gandhatailas or Scented Oils The Preparation of scented oils developed m India side by side with the preparation of medicinal oils The aromatic substances used m preparing the Gandhatailas have definite medicinal values Puranas also deal with the preparation details of scented oils A Gandhataila which is made up of Manjtstha, Tagara, Vyaghranakha, Bala, Nakha & Gandhapatra is mentioned m VDP & AP

95

Even the preparation details

of an oil of required aroma are mentioned

96

Mukhavasas or Mouth freshners Mouth freshners were also the part of ancient Perfumery They are prepared not only to freshen the mouth by removing bad odour (Mukhadurgandha Nivarana) but also to cure the mouth diseases Accordingly, the manufacturing details of small pills which are termed as Gutikas or Gulikas & to be kept m the mouth for freshening are given m VDP and AP The substances are

Eta, Lavanga, Kankola, Jatiphala,

Ntsakara along with Jatipatra , it is said “ these are the independent mouth freshners”.97 95

?FTT

M UJTSRRI ^ I

ipqq=r x(

II VDP64-31&AP 224-32

96 fter Mfeci m Ms g^iRidiRicis i tf£r

97 iJylM4^45^1 el 'dld^BlcWi

g

ll Ibid 64 -32

^ld)wPl§ll4)
38

The other substances mentioned for preparing pills are - Karpura, Kunkuma, Kanta, Mrgadarpa, Harenuka, Kankola, Ela, Lavanga.Jati, Kosaka, Patra, Truti, Musta, Lata, KastOrika, fruits & leaves of Jati & Katuka These are to be powdered

mixed with equal quantity of Khadira , then with the help of

85

98

Sahakararasa the pills are to be prepared mouth but also cure mouth diseases

They not only fragrant the

99

Similarly, preparation method of aromatised arecanut Dantakasthas

101

100

8s

is also mentioned Both VDP & AP give a charming

composition of Mukhavasa by using Tvak, Patra m equal quantities, Karpura -102

half of it along with Nagavalh.

Another brief information mentioned only m VDP is the manufacturing of dyed and perfumed cloth which is called Patavasa 103 98 cp|[fp

cfiRT

w

^

sraraagfteu

W W TFT cfifqcbFfl

q ||

!
11

m

ycb^ild

II

cfi^cZITg jtas pTS | VDP 64-37b to 40 & AP 224-35 to 38a

99

3#

fTCIM 39fNeRT?R18 || VDP 64-41a & AP 224-38b

100 33 R^nfvTcr

qoqq^ddlftuH |

jpm 3

101

ll VDP 64-41b, 42a & AP 224-39

q 4)3% ftT

^

3T4SH

102

3Q#|f%cf,'P[c63 II VDP 64-42b &43a&AP 224-39

fyd'4PII^3c?l I ^TlfcT

3

103

3^3

g^cT

3^dT#

II VDP 64-43 AP 224-41

qqT Pf9Tprl3iqVM^db^9

q §Tt^FT WH OT 11

cisr *T=rfrT q%

|

q ^(W#I

flfetoy imdctwiRi

I

^pt%8 9wi#i?i8 11 VDP 64-33b to 36a

39

The uniqueness of Kahka Purana lies m following information At the outset, KP describes the varieties and ways of gettmg Gandha It says -

wm

to

cfi

ddM^rclr I qr <|^|cb!^cf tiq cji ||

W W&ft dTft

trqqi |

TOS qoclte RPfdt ^fHT tflfadTOS II KP 73-37,38

The above verses explain the 5 varieties of Gandha viz (1) CUrnikrta (2) Ghrsta (3) Dahakarsita{4) Sammardajarasa 85(5) Pranyangodbhava The fragrant leaves are to be powdered 8s such variety being first is called Curnikrta Gandha 104 Ghrsta is a variety that can be obtained by rubbing the Malayaja (sandal tree), Aguru etc It is m the form of paste l e. Panka 105 Dahakarsita Gandha is a process of gettmg (feeling) aroma after burning the substance like Devadaru, Aguru etc 106 Sammardaja is a variety obtained by extracting the juices of Sugandha, Karavira, Bilva, Tilaka etc.107 104

tfFRPdm I dlft rf II

5RIWJI*I^«MHI

mRr msmift gs tar to sms pp i kp 73-39,40a

105 ^ WPifr W d spjdspjRremft TOt

106

II %s si^tarr I

fefag qReglRfas II Ibid 73-40b,41 totctritoits

d

1 tafrro

toit

w 11

TO IJ^TS dR<£lRidS I Ibid 73-42,43a

107

Ict^feR dm I SnjcffrT Tdt d

^

TOS

II Ibid 73-43b,44

40

Mail

II

The perfume obtained from animals is called Pranyangodbhava 108 It further states that all aromas can be felt & got through these five types only

109

The greatness of Malayaja Gandha is appreciated m the

following statement* Site tefe I KP 73-5la

Therefore, it is stressed that one has to offer preferably Malayaja no Gandha m worship. This is accepted for both gods & manes and in particularly god Visnu is pleased by offering this Stray references about the knowledge of Cosmetics 8s Perfumery are met m Srimadbhagavata Mahapuranam Here, we come across with a character by name Trivakra (popularly known as Kubja) a female attendent of Kamsa, whose duty was to prepare 8s take the unguents to him ; when Sri Krsna & Balarama have seen her, she was holding a vessel of unguents.112 Further, while Sri Krsna & Balarama were gomg to Mathura on road, they were offered 8s presented with the garlands, Tambula 85 Perfumes by the busmess class. d
108 to

npqps

109 a) trcr b)

xjcf cjr I

teg teiRww ii kp 73-45

5 ter te ter

I Ibid 73-48a

^tetter ter ter tot i ibid 73-49b

110 dPnitetef inter

TOtf!

113

WZ I Ibid 73-51 te *r srog i

T& enfa te ^ flsggfeg li Ibid 73-50

tecicT tetete Rftt ipr csrs^rdrote 11 # ww; 10-42-3 113 Rr^HI TOIT TOTT cTT sffRPf tete I tenTOPfjrates

itesMdg 11 ibid 10-42-13

41

The details on Cosmetics 8s Perfumery m Puranas can be concluded with the quotation of KP m following way : cJOTFT

Slfe *TCTI

TO&t TO ^ %§ flfclta II KP 73-55

Gandha fulfills the four ends of human life, Viz Dharma, Artha, Kama and Moksa The above extracts on Gandhayukti in Puramk literature briefly represent the Indian knowledge of art 8s science of manufacturing the Cosmetics & Perfumes as current m medieval India. Some of details mentioned here resemble with the other texts The description of the different Gandha 8s their application m the worship of deities is sufficiently informative.VDP 8s AP give much importance to aspects of manufacturing,whereas KP gives importance to description 8s applicational aspects Thus, Puramk literature helped for the preservation of art 8s science of Cosmetics 8s Perfumery. 1.2.4 Arthasastram of Kauttlya Arthasastram of Kautilya is a systematic treatise dealing with the topics on administration. Basically this is composed for the sake of kings

114

Though it is a text on political ideology, it does contain the social

114

TOR STWTO faffc|8 fc\% I KA 2-10-42

42

order, their life styles prevailing in society. It has also noticed the «

facets of social life. Regarding the ideas on Cosmetics 8s Perfumery, the information is contained m I & II Adhikaranas. The king usually as a routine uses the perfumes 8s unguents and flower garlands It is said that female attendents of proven integrity should do the work of bath - attendants, shampooing, garland making etc 115 or artists supervised by them also can do it.116 They should offer garments and flowers after puttmg them to their eyes The unguents,perfumes, and bath-cosmetics are to be offered only after puttmg on their own bosoms and arms 117 Kauplya deals with aromatic woods in II Adhikarana The 11th chapter of II Adhikarana is termed Kosapravesyaratnapanksa

i

e examination of

precious articles to be recieved in to the treasury Kosadhyaksa

i

e

Superintendent of the warehouse is the head of this department 85 has to examine the quality of gems 85 other precious articles. In this context, Kautilya elaborately describes different variety of sandals 85 other aromatic trees, their colour, various smells 8e properties. He calls these perfumery articles as Sara 118 Further he classifies Candana in to 16 varieties, based on their geographical region 115 FTNcE

iJMlcblWi 5ISR

I KA 1-21-13

116c#T#felT WT f^lf^Ho I Ibid 1-21-13 117

l<4lHI^^

^1 Ibid 2-21-14

118 m

- #p commentary on KA 2-11-1

43

where it grows, colour & smell. They are * 1 Satana is from Satana country, red in colour & has the smell of earth 2 Gosirsaka is from Gosirsa country ; blackish red in colour & smell

like fish, it may also mean that the aroma is like red Karavira 3 Haricandanam is from Handesa, the parrot’s feather colour, mango smell 4 Tarnasa is from near places of river Trnasa, parrot's feather colour,

mango smell. 5 Grameruka is from Grameru red or black-red in colour; has the smell

of goat's urine 6 Daivasabheyam - from Devasabha red in colour, smell of lotus 7 Javaka is from Javakadesa, the colour being red & smell of lotus 8 Johgaka is from Jonga, is red or red-block & smooth 9 Taurupa - from Tarupa, red or black red in colour & soft 10 Maleyakam - from Mala, whitish red 11 Kucandanam- black like aloe or red or reddish black 12 Kalaparvatakam-from Kala mountain, reddish black or the colour

of saffron 13 Kosagaraparvatakam -from Kosagara mountain, black or black -

vangated 14 Sitodakiyam-from Sitodaka region, have the lustre of lotus or black

and smooth.

44

15 Nagaparvatakam -from Naga mountain, is rough, which has the colour of moss. 16

Sakalamfrom Sakata region, brown in colour.119

The commentator T Ganapathy Shastry m his

Srtmula

commentary

on AS says that the first 13(i.e from Satana to Kosakara)are belonging to Malaya120 & Javaka, Jongakam &Taurupam-these three belong to Kamarupa.121

Further Kauplya narrates the merits of Candana. He says an excellent Candana

is

Laghu(light),Snigdha(sm.ooth),Asyanam(moist,not

Sarpisnehalepi(xmctUQU.s

smell),

with oil like butter),

Tvaganusari(adhesive

(not loosmg colour), 119 (l) tflcR WT (u)

(pleasant m

to the skin), Anulbanam(unobtrusive), Avtragt

Usnasaharp

(bearing heat), Dahagrahi (allaying heat),

I Ibid 2-11-43 (4IcFfcR44,

cfelfldra

(ui)

Gandhasukham

WT

#p)

I Ibid 2-11-44 (4^R

)

^cfiq5IcMWTf% I Ibid 2-ll-45(sf^iR

(iv)

| (pw

(v)

- #p)

444 - #p) cu

i ibid 2-11-46

(JTPlW4 TW tWifcM 41 apl^n^l, 5RCT9MS 45^ 444 (vi)

dry),

' #p)

T4cT wPl I Ibid 2-11-47 (?t444T4T 44 - #p )

(vu) 4fT445 4 | Ibid 2-11-47 (4T44&N4 - #p) (vm) uilpi (ix)

tm 4 I

PW 4T f^Pfl Ibid 2-11-48 (f*^F4 4^1^ -

)

Ibid 2-11-48

(x) 4M44)

Ibid 2-11-49

, (xi) f444 cftWd'jfcb'f T^T|f% | Ibid 2-11-50 ( 41^4 (xu) 45RN4CP cRM cbWRl^I 4TI Ibid 2-11-51 (M

44TCI4

)

3FJ445IW 3PJ4443?R - #p)

(xin) cBr§|cbKM4dcb 45M cfil#[4 4T | Ibid 2-11-52 . (xiv)

WI 45R#F4 411 Ibid 2-11-53 (itfrateRSR,

(xv) d(‘m4dcB W

4T1 Ibid 2-11-54 (44I^?R,teMRRTR4^ - #p)

(xvi) STT4R 45fM*tfcM Ibid.2-11-55. 120

1211 'd|c|cbl(4

4
5R4M44 - #p)

Sfimm wr^^PRr 1

Ibid p 188

45

& Sukhasparsanam (pleasant for touching)

122

In nutshell, he explains the Candana which is having sixteen geographical regions as its origin, six smells, nine colours

85

eleven properties.123

Aguru

Aguru is of three varities 1 )Jongakam 2)Ddngakam

8b

3)Parasamudrakam

Jongaka is black, black vanegated or vanegated with round spots.124 Dongaka is dark.125 Jongakam

8b

Dongakam are growing in Kamarupa

(Assam).126 Parasamudraka is from beyond the Sea, has a varigated appearence and has the smell of UsJra or Navamalhka.127 The properties of Aguru mentioned here are : Guru(heavy), Smgdha (smooth), Pesalagandhi{pleasant smell), Nirhari{wide spreadmg fragrance), Agmsaham(not easily burnmg) Asamplutadhumam(without a thick smoke), Samagandham(Uniform fragrance), Vimardasaharp(whichdoes not loose its fragrance m rubbing)

128

I 11-11-56 , tiffs

iJclPfa

on this is as follows fePqfrT 43[ cWPp, TFSJ^I

sfajRrcfWr

g*H^I 123

SFJecR

tqsf

KA TGSpp 188,189 commentary gives a

t5[5 TRJT ^KHHI 124

'SR'qFf Praim,

cfojT TjTJTStra^T wfo

on this | II Ibid p 189

- 5f[p> cJM wfeR ¥^#T5T 3Tl KA 2-11-57

125 JRFT %^l Ibid 2-11-58 126

%

127 MKd^cb

128

f^FST ^WFlf%

I KA TGS p 189 WntFOTf^r ^TT1 KA 2-11-59 WRT

46

Ibid 2-11-60

Thus, Aguru can be obtained from three growing regions, usually black m colour, two smells 8s eight properties 129 Tailaparmkam Tailaparnika is a fragrant tree which is used m preparing fragrant salves. The varieties of Tailaparnika are five. They are 1)

Asokagramika

2)

Jongaka

3)

Grameruka

4)

Sauvarnakudyaka &

S)Purnakadvipaka Asokagramika is a variety situated in Asokagrama of Kamarupa It has the colour of flesh of deer 8s the fragrance is like lotus 130 Jongaka is from the area of Jonga m Kamarupa, reddish yellow m colour and has the fragrance of a blue lotus or the smell of cow's urme 131 Grameruka is from the region Grameru in Kamarupa, smooth & has the smell of cow's urme 132 Sauvarnakudyaka is from Sauvarnakudya village of Kamarupa, reddish yellow m colour 8s has the smell of Matulunga(Citron fruit).133 PurnadvJpaka is also from Purnadvipa region of Kamarupa, has the fragrance of a lotus or the smell of butter.134 129

mentioned m

commentary is as under

II KA TGS p 189

131

^ I Ibid 2-11-62

132

I Ibid 2-11-63

134

Ibid 2-11-65

47

Bhadrasri Bhadrasri is a variety of Candana 135 Divergent opinions regarding

the identification of Bhadrasri are mentioned m SrimOIa commentary Some say that Bhadrasri is Karpura ; others to mean Takkola or Srivasa or Raktacandana 136 Kautilya classifies it m to two varieties. They are 1) Paralauhityakam & 2) Antaravatyam Paralauhityakam is from the region adjucent to the river Lauhitya m Kamarupa It has the colour of Jati flower.137Antaravatyam is from the

area of river Antaravati in Kamarupa It resembles with Usira in colour 138 Both of two varities have the smell of Kustha.139 Kaleyaka Kaleyaka is a type of fragrant wood Amarakosa identifies this with Daruharidra.140 It has two varities viz Svarnabhumijah 8s Outtaraparvataka Svarnabhumija is from the region of Suvarnabhumi or Marmadesa which

is identified with modern Burma. It is smooth 8s yellow 141

135

I

AS TGS p 190

136

^I

lift MttrWS

I AS TGS p 190

137

^1##! IKA 2-11-67

138

I ka 2-11-67 («(w

139.OT^fOTl%W | KA 2-11-68 140.

|

141 cblel4cb§ -

ffisfSfg I

qrJW <*H?fSRsU .. | KA 2-11-69

48

I AK 2-4-456 8s 457 #^}

Outtaraparvataka is from the area of northern part of Himalaya It is reddish yellow like Manassila

142

It is further said that the above three viz Tailaparmka, Bhadrasn & Kaleyaka are capable of retaining fragrance when they are converted in to lump or boiled or producing smoke , they are not loosmg colour either when they are mixed with other products or with the passage of time , and they are amenble for mixing with other substances.143 They also have the properties or qualities similar to that of Candana and Aguru,144 Here the word Yoganuvidhayi i.e. helpful m blendmg suggests that practice of blending the perfumes was m vogue. Kautilya, thus, m this chapter explains almost all the natural fragrant plants which can be stored for long period. These are systametically classified so as to arrange them m the warehouse. But he is silent regarding the utilisation of these perfumery plants. The storage care itself is evident that these are used widely. Therefore he considers Candana and other perfumery plants as Saras 1 e. essences and includes them under gems.145 Thus, perfumery is given prommance m his work. 142 '3?kl
| KA 2-11-69

TCtepfs -

143

^TFjM^r q| Ibid 2-11-71

144 tKHigbdsI ifal g^TTS | ibid 2-11-72 145 Similar idea is found m wnm of ftcddiq ffe (13th CAD) wherem, he considers that the gems & perfumery are best means of earning money and accordingly he discusses regarding the artificial preparation of Gems 8s Perfumes in single Chapter

49

1.2.5 Bfhatsamhita of Varahamihira : Brhatsamhita occupies an important position m the history of astrological & astronomical literature of India. This magnum opus is authored by Varahamihira, son of Adityadasa, belonging to 505 AD146 He was one among the nme gems who adorned the court of the legendary Vikramaditya 147 He was a devotee of Sun God and scientist of rare merits Therefore, he was considered as an incarnation of Sun God. Al-Birum, the Arab scholar 8s traveller says "Varahamihira has already revealed himself to us as a man who accurately knows the shape of the world . . on the whole his foot stands firmly on the basis of the truth, and he clearly speaks out the truth'.148 Jyotisa i.e Astrology & Astronomy is an integrated science which synthesises all branches of learning. Accordingly, Varahamihira has compiled a treatise on Jyotisa by name Brhatsamhita wherein many subjects of human interest are included. Out of these many subjects, the idea of Perfumery is also one. The 76th chapter entitled Gandhayukti is dealing with Cosmetics 8s Perfumery. It offers rich materials on beautifying ingredients 8s formulations 146 VMBS

M R Bhat p xi

VZtfk eblfaiyuis I

147 SSflHt

II KUS.M.R.Kale.p.xix

148 Vide p 119 Vol. II of “INDIA” , quoted m VMBS M R Bhat p xi

50

Before entermg in to the details of Cosmetics 8s Perfumery mentioned m Brhatsamhita, it is noteworthy to mention the contribution of Bhattotpala, a commentator on Brhatsamhita Bhattotpala is a Kashmirian belonging to 10th C A D. He has written a beautiful commentary by name Vivrti149 which is popularly known as Bhattotpalatika 150 His language is simple 8s helps m comprehendmg some difficult technical terms mentioned by Varahamihira Regarding the Cosmetics 8s Perfumery, Bhattotpala's speciality is that he has given a Nighantu i.e glossary of aromatic materials at the beginning of 76th chapter entitled Gandhayukti This glossary helps m identifying the aromatic substances as it contains synonyms.151 Accordmg to Varahamihira, the specialist m perfumery is called Gandhayuktijha

(XV-12)

, Gandhayuktivit

(XVI-17)

and Kacchika

(LXXXVII-41).

Observing these terms Dr Ajay Mitra Shastry opmes “The unde-spread use ofperfumes give rise to a specialized class of artisans who took to the manufacture of Ss trade in cosmetics for their occupation

152

The Cosmetic 8s Perfumery products mentioned m Brhatsamhita constitute (l) Hair-Dye (2) Bath perfume Scented oils, (3)Compound Perfumes (4) Mouth Perfumes (5) Bath powder (6) Dhupas (Incenses) (7)

Putavasa (Talcum powder)

149 cbtlPl

[cfyRl'tfcj

(8)

Dantakastha (Tooth stick) etc.

P)\ili^RT5$*i3i^4?lo 1 Introductory verse No 3 of

150

=44%*!% I BS

on BS

ed Avadha Vihan Tnpati p 41

151 The glossary is given in Appendix No 2 152 India as seen m the

of

Ajay Mitra Shastiy p 238

51

(1)

Hair- Dye

Murdhajaraga

Varahamihira at the outset beautifully states the importance of application of hair-dye m the following way

II

BS 77-1

i e. As garlands, perfumes, incenses, cloths,ornaments and other articles of decoration fail to embellish the person of a grey hairs, one ought to use hair -dyes, just as one annoits collynum for the eyes and ornaments Then he advises the hair-coloring device as under : “ Kodrava grains have to be cooked in sour gruel or vinegar in an iron vessel; then one has to grind them well with iron dust & make it fine paste The grey-haired man has to wash his hair with sour gruel & apply this paste to the head Then cover the head with green leaves, remain for svc hours Thereafter he has to remove the paste from the head & apply a paste of Amalaka (myrobalan). Again he has to cover it with green leaves & retain it for another six hours After that the hair should be washed, then the hair becomes black "153

153

ctauii ^

Wfl

tropin qfrg srerafo srenfacr

sMq; n bs 76-2,3

52

Moreover it is prescribed to wash the hair with scented oils to remove the repelling odour of iron & acid.

154

Here Utpalabhatta mforms us that

most of these ingredients are to be washed with Kanjika(Vinegar) ; some with clean water, others with bovine urine and then cooked m an iron vessel with Nakha and gmgelly oil 155 Here it would be an appropriate to make a reference of an older text called Navanitaka, wherem eleven recipes for preparing hair-dyes are mentioned. The probable date of the text is 2nd century A D.

156

The

text is quoted by Dr P K. Gode & 46 ingredients are catalogued by him. Dr Gode says that Kodrava Tandula and Arkapatra which mentioned m Brhatsamhita are not mentioned m Navanitaka 157 (2) Bath- Perfumes A kind of scented water for the head is recommended for bathing which is prepared from equal proportions of Tvak, Kustha, Renu, Nalika, Sprkka, Rasa, Tagara, Valaka, Kesara

&

Patra 158

154

I

n

wp 155 3^- skim

bs

76-4

cfci^ctn TcRT II Vide Ws

on 76-4

156 The text ■nRRTdefJ is Edited by Kaviraj Balwanth Singh Mohan, Lahore, 1925 The x chapter of this text deals with Hair dyes-Vide SICH-Vol I P K Gode p 101 157 SICH-Vol I P K Gode p 110 158 II BS 77-5

53

(3) Compound Perfumes

Varahamihira gives formulae for the preparation of a number of compound perfumes The ingredients like Patra, Turuska, Vala, Tagara are mmgled together m equal quantities for gettmg a perfume known as Smaroddipana

1

e kindler of passion The same with Vyamaka 8s

fumigated with Katuka and Hmgu was called Vakula, that with Kustha gives the fragrance of Utpalagandhi and with Sandal powder that of Campaka , and the addition of Jatiphala,Tvak,Kustumburu, a perfume smelling like Atimuktaka i.e Jasmme flower

159

The formula for obtaining 84 perfumes of the fragrance Bakula flower is explained. Initially we are directed to draw a digram of nme squares m which 9 aromatic ingredients viz Lodhra, Usira, Nata, Aguru, Musta, Patra, Pnyangu, Vana & Pathya are to be entered m order From these, any three substances taken m order should be mixed with one part each of sandal and Turuska, a half Sukti and quarter of Satapuspa and fumigated with Katuka, Hmgu & Jaggery. In this way by different combinations & permutations we get 84 scents.160 159

41^448 I

^c^fedisfc^qncb ffrr

160 flffltfft -

CBZ -

n

bs

77-7

- 3*dT -

fg II Ibid 77-29 & 30

54

The diagramic presentation of the ingredients is as under

Lodhra

Usira

Nata

Aguru

Musta

Patra

Priyangu

Vana

Pathya

g31'£L

P09 jmK

161

Next we are introduced to the manner of preparing some all­ purpose perfumes called Sarvatobhadra 162 Here we have to draw a diagram comprising 16 compartments by drawing 4 rows of 4 each. Then the substances mz Aguru, Patra, Turuska & Saileya are to be placed horizontally m the ratio of 2 3.5 8 m the first line. In the second, the substances like Priyangu, Musta, Rasa and Kesa are to be placed in the proportion of 5 8 2 3 The third horizontal compartment comprises Sprkka, Tvak, Tagara.MamsJ m the ratio 4.1 7 6 The fourth horizontal squares contain Candana, Nakha, Srika, Kunduruka m the proportion of

161 VMBS 162

Ramaknshna Bhat

m 4SIT ?T4T

p.716 l

Bfo§g«(rarre fens II

I 1^1^418 I

#IT8ll qrfam

BS 77-23 to 26 55

II

7 6 4 1 The pictorial presentation of the above information is as under. Aguru 2

Turuska 5

Saibya 8

Priyangu 5

Patra 3 Musta 8

Bola 2

Kesa 3

Sparkka 4

Tvak 1

Tagara 7

Mamsi 6

Nakha 6

Srika 4

Kunduruka 1

Candana 7

163

Consequently, m whichever may be the way used (i.e. horizontally, vertically, or diagonally) if we mix 4 substances we get 18 proportions for each perfume. Each of these compounds should be combined with Nakha, Tagara.Turuska & be mixed (re-m forced) with Jati, Karpura, Mrga and fumigated with Guda & Nakha. In this manner the Sarvatobhadra scents are prepared (4)

Mouth Perfumes.

Varahamihira states that the substances, mentioned m tetrads m Sarvatobhadra, scents are taken at will & enriched with Jatiphala, Mrga, Karpura, and sprinkled with the juice of mango & honey, yield several mouth-perfumes with the scent of Parijata flower 164 By observmg this Dr Ajay Mitra Shastry opines that these appear to have been done mto small tablets for chewing.

165

163 VMBS M R.Bhat p 714. 164

I n bs 77-27

165 India as seen m the

of

* Dr Ajay Mitra Shastry p 241

56

(5) Bath- Powders

All the aforesaid perfumes which need Srivasaka and Sarja m their preparation make fine bath powders when these are replaced by Valaka & Tvak 166 (6) Dhupas (Incenses) Varahamihira includes Dhupa m one of the important constituents of worshipping gods and sages 167 Fumigation is an essential process mvolved in preparation of perfumes 168 A type of incense can be obtained by mixing equal quantities of Guggulu, Valaka, Laksa, Musta, Nakha 8b sugar 169 Another compound incense by name Pindadhupa can be obtained by blending Mamsi, Valaka, Turuska, Nakha, Candana 170 Kopacchada (which cools tempers) is a highly prized royal mcense made up from four parts of each sugar, Saileyaka, Musta, two parts each of Srivasakam, Sarja, Nakha 8b Guggulu mixed with the powder of camphor 8b done mto lumps with honey 171 166

to

168 ^ ^ TRit

3 w§§ -

169

f§

170.tot

1

commenting on BS 77-9

Ibid 77-9a

II Ibid 77-9b

171 ilfaqjJPfe felffrPpdTS fchlFfr ’citaA

WI

m

tonsil ibid77-11

57

Many delightful perfumes can be made by combining nine substances viz Haritaki, Sankha, Ghana, Drava, Valaka, Guda, Utpala, Saileyaka & Musta m proportions indicated by multiples of 1/9 172 Dr M. Ramkrishna Bhat explains this idea m detail m his English translation of Brhatsamhita This reads: There are rune ingredients here You may take them in any order you like In the first instance you take one part of Haritaki, two ofSankha, three ofghana, four ofBola, five of Valaka, six ofjaggery, seven of costus, eight of benzoin and nine ofMustaka This is one type ofperfume In this manner we can prepare 19 or 3,62,880 varieties of perfumes. The commentator suggests another method of combination Take the first five constituents mentioned in the verse and combine them in such a way that each succeeding thing is increased by one part i e. a) one part b) two c) three d) four and e) five parts This is one perfume In the second you add two more ingredients of six and seven parts respectively In the third you add the last two of eight

<&

nine parts respectively Next you can

have other combinations thus . Take one part of a and two of b This becomes a new Dhupa Next add to the above three parts of c This is yet another variety In this manner if you go on adding the ingredients, you will get eight varieties of Dhupa, according to this method173

172

fMcbHWcblP^IrlS I

cMi-swPi

sjqi

mil

jRlftrs

173 VMBS M R Bhat pp 709-710

58

n

bs

77-10

An interesting method of obtaining a large number of incenses is found in verses 13 to 22 Here

Varahamihira states Gandharnava

1

e

ocean of perfumes can be prepared from the following 16 substances. They are

Ghana, Valaka, Saileyaka, Karpura, Usira, Nagapuspa, Vyaghranakha,

Sprkka, Aguru, Madanaka, Nakha, Tagara, Dhanya, Karcura, Cola and Malaya 174 Out of these sixteen substances every four of them are permuted variously at will & that m one, two, three or four parts These all imaginable combinations give 1820, 43,680 or 1,74,720 kinds of incenses

175

The four sets are shown in the following diagram:176 Saibya

Ghana

Valaka

Usira

Nagapuspa

Karpura

Aguru

Vyaghra­ Sprkka nakha Tagara Madanaka Nakha

Dhanya

Karcura

Coraka

Candana

After giving a general rule, the author cautions us an exception m respect of Dhanya and Karpura which have very promment smell of ' their own Therefore Dhanya is to be added only in part and the camphor should be m still less proportion.177

44ft II BS 77-13,14

175 India as seen in the ^dlBdl of

:Dr Ajay Mitra Shastry p 245

176VMBS MRBhat p711 "177

SJRRPj[ I M

II BSp 77-15 59

The author further informs us that the above products should be fumigated separately with Sri, Sarja, Guda & Nakha and then mixed with musk and camphor.178 (7)

Putavasa (Talcum powder) Brhatsamhita also refers Putavasa 1 e Talcum powder. Utpala refers

Putavasa as Angoddhulana i.e the body powder. Equal parts of Usira, Tvak, Patra and small cardamom m half quantity are to be powdered and enriched with musk and camphor This will make an excellent Talcum powder.179 In the place of Putavasa

some

read Patavasa If this variant reading is accepted, then this powder would appear to have been used for scentmg cloth 180 (8) Dantakastha (Tooth stick) As stated earlier, tooth sticks were extensively used for cleaning teeth Some beliefs about them 8s twigs of many creepers 8s trees are referred m Dantakastha Laksanadhyaya (Chapter 84) of Brhatsamhita Whereas, here in Gandhayukti, a recipe for scentmg the tooth-sticks is given. First of all, the sticks should be kept m bovine urine mixed with the powder of Haritaki for a week, then they are to be immersed 178 Cb^cb4l 179

cb^gdiir II BS p 77-16 I

gsmtfg

II Ibid p 77-12

180VMBS M R Bhat p 710

60

for some time (half a night accordmg to Utpala) m the scented water prepared from Eta, Tvak, Patra, Anjana, Madhu, Marica, Nagapuspa & Kustha Then they were to be powdered with Jatiphala, Patra, Ela 8 Karpura m the ratio of 4 2 1 3 8s dried m the sun.

181

Such tooth-sticks, it is

said, give freshness, complexion, facial lustre, cleaniness, fragrance for the mouth 8s sweet speech 182 Varahamihira has not directly enlisted the processes of manufacturing the perfumes. Whereas, while giving preparation details of various aromatic final products, he refers to the following processes. They are (1) Pakva (process of preparing decoction) (2) Tapta(heating) (3) Samyuta (mixing) (4) D/?t7pya (fumigation) (5)Sikta (sprinkling) 8s (6) Bodha(combining of one powder with another).183 Utpalabhatta adds two more processes viz.{7)Dravyasamskara or Ksalana (purification^ (8)Vedha (blending of liquid with other).184 Else where, incidentally a process called Bhavana (saturation) is referred.183 Thus, Brhatsamhita stands as a mile-stone m the history of Cosmetics 85 Perfumery in ancient India

181 tTHTF

$tldc&l4U|^d

tall

4^^ ^

fd^cbfM&4i% i^cirjPidift

182 wrm 183 . . SpfR 4341% Ibid 77-12 , 184

11 bs 77-31-33

cBif%

wi

4

II Ibid 77-34

I BS 77-2 , STcfiH^rlHS . I Ibid 77-6 , ^I#T f4t. I Ibid 77-8 ,

li

I Ibid 77-27 ,

| I Ibid 77-11

commenting on BS 77-4 8s 77-22

185 India as seen m the

of

:Dr Ajay Mitra Shastiy p 237

61

1.2.6 Sarngadhara Paddhati

Sarngadhara Paddhati is a text on compilation of verses on various subjects. The date of the text is not mentioned.lt deals with different combinations of Jalavasa.Mukhavasa.Ahgavasa.Dhupa etc m its section lxxxviii,

entitled Kautukam 1 e. marvels. The information is as under.

1) Ketaki flowers, Kustha.Ela, powder ofKesara are to be kept in water,the ,

,

,

water becomes so scented as to attract bees.

186

2) By drinking the water made fragrant with sandal, cardamum,

Usira and Tagara one's body becomes redolent

187

3) By mixing of one quarter of Tejahpatra, water, sandal and Sigru, there

definitely arises the perfume similar to the flowers of Ketaka

188

4) A man's body emitts the smell of Campaka, if he bathes m water rendered

fragrant by mixing in it the mustard oil cake saturated in the essence of Sigru and JatamamsI

189

5) Incense created with the essence ofSaga, spreading in the house, through

its smell destroys reptiles, mice, bugs & lice 186 cbdcbln^ -

- 3[?r-

I

fem

II SP 30

187

^I TpPRlf

rt cigf%

II Ibid 31

188 qremsRjtfater-

I

cbdcflgwRieiiia rt rtf

11 Ibld 32

189

1 fciPl^eKIS II Ibid 33

WFOT Sgfaw

190

190

1 II Ibid 34

62

6) The mixture of Jatlphala, musk, camphor, juice of mango leaves should be

fumigated with Aguru, Silhaka, Madhu & Guda can be used as Mukhavasa

191

7) A Jalavasafor kings can be prepared unthSuksmaila, musk, Kustha, Tvakpatra & Candana

192

8) water emits Campaka fragrance by mixing it with Tvakpatra, Jatipatra &

Eta ; of Vina by mixing with Tvak & Marica and that ofPatala by mixing with Kustha & Tila

193

9) The mixture of powder of Kustha, Mura,Nagakesara mixed with honey &

melted butter, if consumed the body will emit fragrance

194

10) If one licks the powder ofKustha and Raja together with honey & clamfied

butter, one's body becomes strong 8s fragrant for long time.

195

11) A Dhupa gives the smell of Kunkuma (saffron), if prepared with the equal

quantity of Data, Malayaja.Mamsi, sugar, Aguru, water & honey

3*3cnis II Ibid 107

II SP 108

#TS fstesu MkdMms || Ibid 109

hsj

ii

195 MTS fS^T?^ cfTlf^T

196 m

wfjt

dPT

ibid no I

^ifsR^Rrrl^ II Ibid 111

to top

1 II Ibid 112

63

196

12) An intelligent person should fumigate both his clothes & home with the

incense of Camphor, Nakha, Giri,Mada(Kasturt) Mamsi, Jatu in equal quantity with sandal & aloewood in two units mixed with molasses

197

13) An incense stick which is suitable for kings can be prepared from the

mixture of Nakha, Aguru, Sihlaka, Valaka, Kunduru, Saileya, Candana, Syama by taking each in progressive proportion

198

14) An incense stick made from the compound of Marjan ( Puti), Himavaluka, Pisunaka, Gosirsaka(Gorocana), Sihlaka, &Vahniprittkara(Karpura ), pounded

in water, in progressive proportion, mixed with clanfied butter & sugar, this is known as Manmathavarti and suited for the people of refined taste

199

15) The wick prepared from Suradaru, Malaya, Musta,Kalaksa,Aguru, Sila &

powdered Camphor, is suited for the palaces

200

16) Another type of wick be made from Gandharasa, Gin, Kanduru, Guggulu,

197 II Ibid 116

198

WTO I II SP 117

199 insrtft UroifEr TOlMcfi

200

I ^Rldl^Rid

#fll

I iRTOT 4twfdR4^ II Ibid 119

201

I ^IcjroRi^cbrKdR^mi 4)MdfdRilH II Ibid 120

64

1.3 Samskfta Kavya Literature Samskrta Kavya Literature is veiy comprehensive and inclusive of all arts and sciences.The Rhetorician Bhamaha m his Kavyalankara says

w dlwf ^

^ m te ^ m

I ^rs u 5-4

Kavya Literature m general deals with the life styles, occupational activities and beautification etc of concerned time. Various prose, poetic and dramatic works reveal information on Cosmetics & Perfumery. While describing the nature, depicting the characters, picturizmg the palaces, we come across with the incidental references on this subject. Beauty-aids appear to have been more commonly used m those days. Both men and women made an extensive use of Cosmetics and Perfumes to enhance their bodily charm and for upkeeping the physical fitness , but they vary accordmg to their taste and resources. We come across with Gatraragas{body unguents), Adhararagas (lipsticks), Anjanas (collyrium), Gandhacurnas(scented powders), Gandhajalas (perfumed water), various Dhupas(mcenses) and so on m the whole literature. Vilepana or Gatraragas(ungaents) Both men and women anointed their body with various kinds of coloured and aromatised pastes or creams prepared from variety of aromatic substances like Saffron, Sandalwood Musk & Camphor 65

etc. Manasollasa,an encyclopedic work attributed to Bhulokamalla So/T7es\/ara(llth CAD), explains the benefit derived from such body applications as under 3F0 teR

II M 3-5-980

i e Vilepana is pleasent in feeling & gives healthiness to the body Cosmetic products are used to improve the beauty and to overcome problems arising from seasonal variations. Rajasekhara explains a happy moment of sittmg on a floor aromatised by candana

202

Kalidasa, Bans, Damodara etc. are some of the important poets who have made numerous references on these products. For instance, m Rtusamhara of Kalidasa, the reference is made to the sandal paste rubbed on the breasts and hairs cleansed with cosmetic & scented hair bath. is found in Kumarasambhava also

204

203

Similar instance

_.

Kahyaka is another cosmetic product

that was used by women.205Applying of Laksarasa to the feet of women for beautification is mentioned m many of the Kavya texts 206 202

$TO8 4# I

of tetef

ter 204.

c&iter n

rs

4-1

I KUS 5-69

205

-
ftraRr 206 (i) (ii) (ill)

pr^piPi I

gttepr n Waiter!

I

rs

4-5

rs

1-5

4T# ^wlWrtclFlcimi^MIlflrl^ IMD 1-35 (MI
66

Mixing of aromatic substances is also found m literature Rtusamhara mentions a product where m Kalaguru and Candana are used

207

One more such combined product is prepared from Priyahgu,

Kaliyaka and Kuhkuma along with Candana which is suitable for applying m spring season.208 While descnbmg Parvati ‘s decorations m Kumarasambhava, Kalidasa mentions Lodhrakalka This description draws special attention and shows the minute body care technique of ancient Indians. Kalka means paste.209 The paste made up of Lodhra was used to remove the dirt of the body and the oil applied m Abhyanga i.e auspicious massage. Usually skm gets dry after usmg Lodhrakalka A dry skm is not advised from health point of view , moisturer is required to keep the skm healthy. So Kalidasa mentions the application of Kaleya unguent thereafter, which is creamy in nature.210 Thus the dryness of Parvati's skm is removed through such application. This explanation throws light on hygienic concept of those days. Further, Kalidasa states that the Gorocana is rubbed on the cheeks 207

I RS 2-22

208 31#^ 209 3RT Vide

II RS 6-14

WpteHl Wl

I

commentary of cbio#M on RR 15-56

210

I KUS 7-9 (3TOH4lqt^ix|5 cR cblA^H

■'Risahr

#SZJF3; HfwHRS)

67

to enhance the red hue.211 Even Suklaguru is mentioned as an unguent 212 These are some of examples on Gatraranjanas(body application) Adhararaga (Lipstick) The practice of applymg the cream for lips was common m ancient India. Alaktaka (red lac), Madhucchista (bee's wax) or Yavaka are the some of the products used as lipsticks This is usually done in order to maintain the red colour of the lips 213 More over these applications are prescribed for protecting the lips from cold problems & sexual bites 214 Rajasekhara m Karpuramanjari informs us that bee’s wax is to be applied to the lips only in the winter and its use bemg given up at the approach of the spring 215 Kalidasa mentions Alaktaka and Madhucchista as lip-sticks m Kumara Sambhava 216 Similar references are found m other texts 217

211(0

IKUS 7-15

212

I Ibid 17-15

213

- tfwRTSI on KUS 7-18

214

I KM 310 (HcWW

215

3MT dPFir

ftcTSH’T

^fcT

"EfT

^

1

cj^T 5fTHt cRMlcH4° ||

216

oEtRgn^T I Vide KM p 72)

1-13

SnUKRIT1 KUS 5-34 (u)

217^T^qM4^8 8-55 , 9-46

TOtel Ibid 7-18 8-40,

68

15-43

Anjana{Collyrium ) Anjana is an important item of make up. Kajjala is synonym of Anjana Beginning from Vedic literature we come across with variety of collynums. It is applied to the eyes not only to enhance the beauty l but also to promote the eye care The easiest technique of getting a Darvika vanety of collynum is 'explained m Kalikapurana as under : dlllcfr wM'i

g

I

MlMiRctT 11 kp 73-158

1 e collynum collected in a copper vessel from the flame of lamp lit with the help of melted butter or oil is known as Darvika Susruta mentions manifold uses of Anjana in the following verse

cfrfr T

Wm

^cl TOIclt I

STTtFrT d^HIdo^dHhAd II Su Ci 24-19

i.e.it removes eye diseases and protects them from wind 8b glare of Sun Therefore applying the collynum to the eyes is a constituent of daily routine of healthy man so as to prevent the eye diseases In Kumara Sambhava, Kalidasa mentions Kalanjana, a variety of collynum used as an auspicious ritual i.e. Mangala.218 We can allude the reference m Meghadutam also 219 There are good number of

218 cTPITo

^Idl^d^mi-d

5R||Ilraifafa%

W

vt<4m

I II KUS 7-20

sif fwrr

MD 2-35

69

examples found m Kavya works where collynum is mentioned Even the pencil which is used for painting the eyes with collynum is referred to m Kumara Sambhava 220 Tilaka or Lalapka (Forehead application). Ancient Indians were very particular about the Tilaka designs Some times it is applied purely for decorative purposes without any symbolic value bemg attached to it. Damodara m Kuttanimata says that young ladies usually did not appear without Tilaka m the presence of their lovers 221 “The reference in the Kuttanimata to the washing away of the Tilaka of the widowed woman of the enemy probably indicates that Tilaka mark on the forehead had by then come to be regarded as an essential item of toilette of the ladies whose husbands were alive ” says Dr Ajay Mitra Shastry 222 Dr P V Kane opmes that originally Tilaka was only decorative m character & then became an absolute necessity for mamed woman by 8th centuiy A.D.223 Kalidasa's observation to it as the ntualistic part of the marriage ceremony.224 This is usually painted with the substances 220 IcirflrR

dfitociw^r I

cildWHyficB'l tPTT SWHIWO cifnft i! KUS 7-59($MOTl 221

icMebbHI.

597

dU^Hl Sfrairs

222 India as seen in the eppffad of 223 HDS 224

Vol I

-

Dr Ajay Mitra Shastry p 153 fii 9

P V Kane p 315

Wm I

- libras)

KUS 7-24

70

like Kasturi,Candana,Karpura,Hantala(yellow orpiment) & Manahsila(red arsenic).Candana Lalatika is mentioned m Kumara Sambhava225 Haritala and , _

Manahsila are also referred to as the ingredients for Tilaka

226

Kesa Prasadhana (Hair Care) Hair-dressmg has been an art smce the dawn of Civilization Box wood combs datmg back to the Stone Age reveal that there was great emphasis on Hair-care Hair plays an important role in beauty. An English poet Longfellow poetically describes the power of hair as “Not ten yoke of oxen have the power to draw us

227

.

like a woman’s hair ”

According to Ayurvedik principles the quality and nature of hair depends on constitution of the Tridosas Proper hair care is required for the overall appearance Therefore, many measures are taken for the maintenance of hair Drying the hair after bath is usually seen every where even today.Now a days blow driers are used for this purpose. Usually modern medical practitioners are not advising the blow dners for drying so as to avoid damage to the hair.228 In olden days the people used to dry the hair with fumigations.229 In this process some aromatic substances were burnt so as to get the scented fume ; Kalaguru is also one among 225

IKUS 5-55

226

W I Ibid 7-23

227 Indian Express -July 11,2006, supplement p 1 228 Dr Snehal Snram, a physician expressed this view in “woman’s life’- A suppliment of the New Indian Express July 11, 2006, supplement p 1 229 SJjfpSNIT

%?TRPRT§ fp dcfcPT I KUS 7-14

71

them.230 Kalidasa mentions hair perfuming m Meghadutam, Raghuvamsa and Kumara Sambhava 231 Gandhodaka(Scented water) Gandhodaka is prepared by mixing aromatic substances m water This is used for perfuming the tooth sticks and other purposes The kings 8s royal personalities used to take bath with perfumed waters Banabhatta m his Kadambari describes the bathmg of king Sudraka where Gandhodaka is used.232 Even the golden pillars & floor were cleansed with Gandhodaka 8s Kastun. Bhasa m Carudatta depicts Vasantasena, a courtesan, from whom the fragrance was emitted after bathing. In the cha.mber(Antahpura) of Kadambari there were lakes filled with Gandhodaka 233 In Harsacarita also we come across with similar reference.234 There are many instances m Kavya literature where Gandhodaka is mentioned. In Damodara's Kuttammata we come across with many cosmetic 8e perfumery products. He says fasionable ladies loved to wear soft, clean 8s scented clothes.235 Beds made out of leaves particularly fresh 230

ferawcsp

IMD1-35

231 MD 1-35, RAV 7-7&KUS 7-58 232 (l) Tpto ijof cRctoM (ujTpsrefer

HHebdtrs

- cSRJgf) p 45 I ibid p 45

233 ..

... i cblc^f! p 49

234 ..stfcRJTfSpUT

*K44lRu|l PKM4R4

lf
235 MtelRl'dMlHUR ¥>54 4 RraFTT I KM 149

72

sandal leaves were used m summer m order to alleviate the heat236 Both men 8s women anointed their body with various kinds of coloured 8s scented pastes prepared from variety of aromatic ingredients such as Saffron,Sandalwood, Camphor 85 Andropogan.237 The males painted their hands with Vrscika (Kurabaka or Raktapunarnava) The other perfumery products mcludes face powders 8s cloth perfumers 238 Sri Harsa m Naisadhiyacarita239 mentions a cosmetic shop where the transaction of Cosmetics 8s Perfumes is earned out. Though the information furnished m vanous prose, poetry & dramatic works regarding Cosmetic 8s Perfumeiy is incidental 85 non­ technical m nature, their contribution for the development of knowledge on these arts is not negligible. They also indicate the degree 0

of one’s refinement and culture. Thus, the various references 8s recipes of Cosmetics 8s Perfumeiy m the aforesaid general sources give a vivid picture of status attained m the contemporary society 236

SFFFpt

| KM 992

237 (l). .qfPbSIT... | Ibid 101 (^RTOWTOW (11) 238

TTTWTS.

I Ibid 739

rRHlR

STRsflH) - Wlftfrl)

Myitis , | ibid 57 (lifer = OTPrffer - iflUIfe)

73

WOMAN IN CLASSICAL SANSKRIT LITERATURE

Devaky, E S. “Feminist Readings in Kalidasa's works ,” Thesis. Department of Sanskrit, University of Calicut, 2006.

CHAPTER I11

WOMAN IN CLASSICAL SANSKRIT LITERATURE

The treatment of women in the classical literature is more or less the same as in the ancient literature or its developed form. Classical Sanskrit literature begins with epics and puranas. These have served as a source and inspiration for writing to later poets. Kalidasa wrote his works based on the plot taken from these works, which also influenced him in shaping his women characters.

Epics The Rdmdyana The Ramayana (RM)of Valmiki is considered as the Adihvya and model for later kavyas. It is a reflection of society, its religious and cultural aspects and also of eternal values. The characters in it are dharrnic personification of human relations. Rama, the hero is the personified form of sacrifice, dharma, righteousness, valour, compassion and devotion to father. It gives a picture of ideal state, king, man, woman, brother, friend and servant. Rama is the ideal son, husband, king and man while Laksmana, the ideal brother and Hanuman, the ideal servant. Ravana's life is an example for attachment for sensual pleasures and non-practicing of dharma. Women in the XM generally are slaves and fickle. Among the popular five maidens- paiicakanyas, (Ahalya, Draupadi, Sit& Tar%and Mandodari) four except Draupadi are

the characters of the

RM. Uttering the names of these maidens at the

bedtime was instructed as a custom since at that time mind will not be in a condition to question and so they remain imprinted in the minds. Ahalya is the beautiful oft-suspected and cursed wife of Gautama. Sita was the abandoned royal princess, royal wife and royal queen lived in forest. Tars was a victim wife of the rivalry of king brothers, who was compelled to accept and serve victorious husbands. Mandodari lost husband, children and everything due to the over desire of her husband for pleasures. Draupati, the famous polyandrous woman, had to seek protection from another man in life and even in humiliation in the royal assembly. These five maidens are praised as part of propagation of the patriarchal ideologies and to fasten the life of people based on these ideologies. The society depicted in the

RM is patriarchal. So, son was

considered as a boon. Fearing abduction due to physical weaknesses and frailties, society imposed strict moral code upon woman, the failure of which was treated cruelly. There are stories of abduction and adultery in the text like that of the 100 daughters of KuSanabha by Vayul and the parents advised them to pardon.' The status of woman in the RM was not satisfactory. As a child, she had no history because she comes to the scene as serving wives and encouraging mothers of heroes. Her life in childhood was only a training period in her home, serving elders so as to equip them with the small world of house without any

RM. I. 32. 33. 20-24 RM. I. 32.33

contact with the outer world. She was trained to think of a world with in the house, which limited her dreams only to romantic wedded life. If it was a failure, there was nothing to her for onward journey other than endless miseries. All role models of woman are wives. The concept of wife of that period was personified in the three wives of DaSaratha. Among them Kausalya was the crowned queen. She was wedded to beget a successor. Kaikeyi was the beloved one. DaSaratha was ready to sacrifice his power, riches and even his life for her.' Manthara in

Ayodhydfinda2 says 'intoxicated by your beauty you have always in your pride scorned the mother of Rama, your CO-wife'.Sumitra was the slave not only of her husband, but of the CO-wives as well. Wifehood was completed by maternity. Kausalya was famous and became an object of veneration not as a wife, but as the mother of Rama, the perfect man. With out him she was nothing, though she served and loved her husband reverently and sincerely and succeeded in the existence of the race. She made her wifehood thus complete by performing the religious rites and by the family affection, the only divinity offered to an Indian woman. Surnitra is the character, who rarely appears on the scene. She became famous as the slave wife and the slave mother of a slave son, Saumitri. She had to support and approve the decision of Laksmana, in accompanying Rama and Sita in exile as their dutiful servant. She had

' RM. 11. 2. 34 RM. VII. 30

to console Kausalya

to caste out fear on the exile and wished for a

bright future. In Indian tradition, the duty of the younger brothers was to obey the eldest one. This is expressed in the advice of Sumitra, beginning with

'Rdmam DaSaratham viddhi... ' Kausalya and Sumitra

represent the model wives, who serve their master, even when they cease to receive token of love from him. Kaikeyi, the valorous woman leads the story of the RM, like Sita. The beautiful queen, who enjoyed all the favours from the king, though not necessary as a wife, accompanied him in a battle, saved his life, and obtained two boons. She, as mother to protect the rights of her son, wanted to send Rama in exile and the coronation of Bharata as to fulfil the boons promised to her. It is reasonable to her to interfere in that as DaSaratha who was partial to Rama, decided Rama's coronation in the absence of Bharata, purposefully. It was a conspiracy because Rama was also aware of the fact, because he says Laksmana that the state was promised to Kaikeyi as rdjaiulka at the time of her marriage with DaSaratha. She was ridiculed for her righteous demand. Among the daughters-in-law of Ayodhy~,Sita, the feminine manifestation of dharma was famous as the wife of Rama, who received her as viras'ulka. She was endowed with all the qualities like chastity, faithfulness, moral courage, self control and heroic fortitude. She was popularised as the model for even gods. She was described as pativrata, mahdbhdgn, chdyevdnugatd and was given to become a sahadharmini. She diverted

the flow of the story by the abduction and was attributed by

all characters like fickle, jealous indiscriminative and dangerous. Rama,

though dissuaded first allowed Sita, an expert in kingly duties,' to follow, when she reminded him about his cowardliness of leaving her under the rival king. Urmila is a character, who was compelled to serve parents-in-law behind the curtain and remain under the rival king. She is the wife of Laksmana, who helped Rama to become a perfect man leaving her without uttering a word. She gives a picture of the status of wife in a royal family. Valmiki hints to, though not expressed, her eternal union with her husband after exile and she became luckier than Sita. There is no mention by name of Mandavi, wife of Bharata and ~rutakirti,wife of ~ a t r u ~ h n a . Mandodari, daughter of demon architect Maya, and Hema, an apsaras, became the wife of Ravana on the condition that he would not act against her will. It was easy to him as the will of a wife and husband was the same. But wise Mandodari opposed him not even his relation with heavenly ladies; but only when he abducted chaste Sita. Tara, the beloved and respected wife of Bali and his inspiration, tried to retreat him from the battle with Sugriva as she was aware of the fickle and deceiving nature of Sugriva. She consoled herself, as it is the duty and fate of the wife of valorous persons. Ruma was captured and kept as his wife, which was a practice in ancient India. Repenting on his defeat, Bali advised

Sugriva to listen to the advice of Tar%,whom he

considered as his ideal wife, minister and master. Her diplomacy was evident from appointing her to consol raged Laksmana on delay in finding out Sit&

' RM. 11. 26. 4

Manthara, the faithful servant and well wisher of Kaikeyi, who accompanied her on her marriage to Ayodhya, proved her faithfulness by securing the promised kingdom to her mistress.' Ahalya is the wife of sage Gautama, a victim of the rage of husband and the cowardliness of the passionate celestial king Indra. Initially, though both were punished, Indra was rescued by gods, but Ahalya remained in oblivion. Anastiya, wife of Atri, is the embodiment of chastity, with austerity and compassion being keynotes of her character.

The Mahdbhdrata (MB), the longest single work in the world is generally recognised as succeeded the RM. The theme of the MB upholds the victory of virtue or dharma over adharma or evil through a war. The difference is that tribes

in the RM,it was between two different

while in the MB, it was between two branches of the same

family. Since the society during the MB was patriarchal, no favour towards women could be expected. Naturally, the birth of son was celebrated. But it also contains stories of affectionate parents proud of their daughters like Draupadi

',

Savitri3, Damayanti4 as well as

daughters like Lopamudra and Kunti, adopted by Vallabha king and Kuntibhoja respectively. Gandhari begetting hundred sons wished for a

' RM. 11. 107. 3 MB. I.167 MB. I.190 MB. I.220

daughter.' It was an age of heroism; so heroic ladies were preferred to inspire heroic husbands and sons. Stories of Amba, Ambika

and

Ambalika where femininity was condemned are contrary to this affection. Amba, it is said, had to undergo penance for rebirth as a male to take revenge, as she could not survive in the society of male heroes. While analysing the life of women, contradictory statements could be seen; but heroines had a fairly acceptable childhood. There were statements placing son and daughter as equal to that by Bhisma and Brahmana in B a k a ~ a d h aDevayani .~ and Satyavati were daughters3 brought happiness to parents especially to father. However, only her son but not a daughter was eligible to expiate their family from the sins.4

Princesses like Kunti5, sarmistha6, Sukanya7, sikhandi8,

Lopamudra

Jaratkaru", Madhaval', Gandhari

l2

are famous as they

sacrificed their lives for their family to help the survival of the k ~ a t r i y a caste, destroyed by ParaSurama. However, as daughters they enjoyed a relatively high status and happiness.

' MB. I. 115,116 sl. 16 MB. XIII. 45. 12, I. 45. 12 MB. I. 75. 8-9 MB. I. 219.20,21 MB. 111. 288. 6. 11 MB. I. 75.16.22 MB. 111. 124. 25-24 MB. V. 122.18.19 MB. 111. 95. 5-6 ' O MB. I. 36. 11. 17-18 " MB. V1. 13. 10-16 lZ MB. I. 103. 10-17

Education MB refers to the samsiGras, like jatakarma performed to girls without mantras with discrimination. So also formal education was compulsory to boys only. Education being in hermitages girls had no access thereto. They were trained in house so as to mould them as Virapatni and Viramata and also in household management. The duty of educating daughters was assigned to mothers and she was considered as the best preceptor1. In royal families, teachers were appointed; king of Virata appointed a teacher to teach Uttara.' Some princesses like Devayani,' Kunti 4and Savitri were lucky as parents trained them. After marriage, mothers-in-law instructed the customs and duties of the new house5. Husband was another preceptor who taught the moral codes. Yudhisthira and Bhima explained the importance of right education6to Pafichali and Krsna to Satyabhama7.Likewise, Uma and Suvarcala had serious discussions on important issuesg Examples for scholars in sciences were depicted in the MB. Draupadi was an expert in political science, nitisara, law and ethics and Gandhari in economics (arthaSasthraviS~rada),they got a'chance to study with their brothers Dhrspdyurnna and Sakuni respectively. Subhadra was an expert as driver of chariot. ~armisthawas well versed in M.B. XIII. 123. 12-16, XII. 109. 16, I. 188. 14 M.B. IV. 8.10 M.B. 111. 287. 15-19 M.B. 111. 277. 24. 25 M.B. 111. 222. 32, XV. 44.507 M.B. IV. 204,111.30. 35 MB. 11.25 MB. XIII. 127.134

archery and was carrying weapons though women were not recognised fighters. Thus, epithets like bahuirutfl, buddhimati, mahflprajfiyfl, dirghadariini, panditfl, sarvadharmajiifl etc were used to qualify them. They could study from guests also. Kunti was taught Atharvamantra by the sage Durvasas. Though they were prohibited from studying vedas, by contact they were aware of it. ~ a k u n t a while l~ reproaching Dusynta used Sanskrit. During that period, the aim of education was to develop their personality by helping them to overcome their weaknesses through which they could help heroes. So they were acquainted with science, moral codes like Dharmaiflstra.

Conjugal life Wife had a relatively high status and the relation of couples was considered as ordained by god1 and only by their union attained perfection. She was depicted as a true friend, a well wisher and a helping hand in all the fields of life2. The house without wife and without her happiness and prosperity was considered as equal to a forest3. Women were lived in husband's house or with sons. Kunti had to lead a wanderer's life with her sons. But, unlike Sita, Damayanti and ~akuntalagot protection in fathers house in their distress. The most meritorious duty of a wife was devotion to husband, being chaste, virtuous and dutiful and also keen about the welfare of her family.

' MB. 111. 222. 40-42, 11. 48. 67-41,111. 32. 11-12,180. 1-2 MB. IV. 2-4,l. 45. 31,111. 58.27-28 and MP. I . 180 MB. XXII. 142. 4. fn. 364, I. 68. 50.4

Some codes were prescribed for men also. They were advised not to disrupt parents, wives, daughters-in-law and other female members of the family.' Like chastity of the wife, husbands were also insisted to and worthy sons were born only if both father and follow Bh~yGvrata~ mother were chaste, by which the life of couple becomes fruitful. Husband considered wife as a life long companion and respected her to keep them happy and he was punished for not protecting wife or tormenting her.3 Protection of husband by wife was ridiculed4 or was considered as degradation. Bhima felt humiliated when they were freed at the instance of Pafi~ali.~ He was not allowed to accept SanyGsa without the consent of his wife. There were some restrictions in travel by husband frequently. The supremacy of men created anarchy. In the MB, ~vetaketuson of Uddalaka stopped the sexual anarchy especially of brahmins and established monogamy and monoandry and mutual fidelity of husband and wife. Polygamy was well established and increased number of wives was a status symbol. Almost all heroes had more than one wife. Only very few characters practiced monogamy. Rivalries among

CO

wives

were also described as in the episode of Sarmistha and Devayani. Kamsa had two wives; Asti and Prapti, daughters of Jarasandha. Krsna was depicted as the greatest polygamist having sixteen thousand and eight wives. Though a divinity was attributed to him, it remains, still MB. XII. 235, XIII. 108. 1-3 MB. XII. 261. 26, XIII. 194. 3 MB. XIII. 74. 13 MB. XIV. 93.22, XIII. 96. 22 MB. 11. 64. 2-41

unbelievable, how could he manage them because jealousy, rivalry and hostility were the unavoidable characteristics of harem. But this anomaly was concealed by transforming the spirit of their attitude of love into devotion. Characters like Janaka, with eighty wives, Sanaka with one hundred,
Sati was not a compulsion, only individuals practiced it.2Between the two wives of Pandu, only Madri not Kunti performed sati; so also DuSSala mother of Jayadratha.

Occupation Generally, women were not expected to earn money, especially belonging to higher castes. The money earned by women was not used for auspicious purposes3 as it was considered as 'pin money' used for household extras and luxury. There was no prohibition for lower caste women of Siidra and antyajas for earning money. They worked as servants, dancers, singers and beauticians. Since their social status was

' MB. I. 195. ~113-15 MB. Mausalaparvam. 7.73 MB. XII. 24. 33

low, no stress was seen laid on the chastity of these workingwomen. Draupati and Damayanti worked as sairandhris in courts. Satyavati was earning money helping her father in rowing boat, her ancestral profession. Women as weavers and cowherds also are referred to in the text.' Rules regarding the property rights correspond to those akin with that of the MS. Women owned the right of property and gifts received during marriage; inheritance of father's property was also referred to in the text. It also contains reference to the right of inheritance of father's property to adopted daughters or p ~ t r i k r i . ~

Major women characters in MB MB belonged to the heroic age. Women characters also were depicted as heroic and as mothers of heroes. They helped father in the protection of children and also undertook the protection of children in the absence of father and as wives, followed husbands helping them in distress. Women like Paficali and Kunti had actively participated in political discussion and even took decisions. But they never deviated from their duties as wives and mothers. Protection of wife was the duty of husband. In their failure self protection or protection from father could be sought, as in the case of Damayanti.

' MB. XII. 37. 23, IV. 15.34, XIV. MB. XIII. 45

69.7

The aim of the age was uplift of K~atriyacommunity, destroyed by ParaSurama, Hetrogamy or marriage with other castes was not strictly barred. It is very interesting to note that though the caste system was established, for the continuation of the dynasty, Satyavati of lower rank and caste was not condemned but even reputed as the founder mother of the great Bharata dynasty. So it can be understood that laws regarding caste was explained in accordance with the situation or changed according to the circumstances. Heroic wives and mothers encouraged heroism and also harmony among the family members especially among

CO

wives. It is true that women in the family enjoyed

some sort of freedom but this was not the condition in a place out of the house. This is proved by the instance of Paficali, who was humiliated in front of the elder members of the royal family. This state of a woman in a royal family points to the unimaginable condition of helpless common women. Kunti warns Paiicali of the need of self-protection. The state of women artists and artisans, whose chastity was not insisted was very pitiable, which can be inferred from the instances of the attack of Kicaka and Jayadratha. However it was very difficult to verify the position of the women of common folk in the MB as it did not give much information about the life of common people and their living condition. Even male characters are popularised who go along with the ideologies of male dominated society. ParaSurama was praised for even killing his mother at the instance of father. But Cirakari, son of Gautama, who acted only after thinking well was not mentioned even in narration of the story of the MB The story of Cirakari, which is just opposite of the

story of ParaSurama, was kept unknown or not popularised. This might be because popularising this story would affect the practice of following husband and father blindly, avoiding mother. There are some heroic women characters, who became popular by their lives dedicating for the husband and his family.

Kunti Kunti represents the group of viramata, the mother of heroic sons. She was born in a royal family and bought up in another, that of king Kuntibhoja and the wife of the crowned king Pandu and lived as the mother of five brave sons. This intelligent queen, who was famous as arthaSastraviS~rada,well versed in politics and economics had to suffer a lot with her sons and daughter-in-law. As a maiden, she became an unmarried mother on testing the boon given to her by ParaSurama.' She was compelled to choose pale Pandu in her svayamvara, which seems to be a punishment to her illegal mother hood and a victim of rivalry of CO-wifeMadri. Convinced of her impartial nature, Madri entrusted her the responsibility of her sons also. She kept her sons together joining them with a common wife, so as not to split themselves. Her tactics helped to regain the lost kingdom to her sons but loosing grand sons. Yudhisthira condemned her on revealing the mother hood of Karna and ridiculed the women folk as a whole. After regaining the power for her sons as a mother, she led a life in forest with Gandhari and Dhrtarasfra.

' MB. I. 104,111. 287-292

Draupadi Draupadi, born from the fire as the daughter of king Drupada, and a scholar in political science, was bold who followed Pandavas as a shadow and was the spirit and inspiration behind the victory of them. Even if they could not protect her from the humiliation met from their enemies, she caused to free them from bondage. Without abandoning her feminine individuality, she maintained harmony among the members of the family and her will power helped her to overcome tragedies and even questioned the right of husband to sell her with out her consent. She remained as a wife in the way prescribed in the code of law and endeavoured for the welfare of the family.

Gandhari, was extolled as a model wife, who kept away from all the pleasures denied to her blind husband. This blind couple under this pretext could succeed in capturing the kingdom. Instead of directing his blind husband and her sons, she acted as 'blind'; not only that, her brother ~ a k u nhelped i her in the attainment of reign in a crooked way. If she were a real pativrata she would not remain blind, instead direct her family in righteous way.

Amba Amba is a victim of love before marriage and heroism. She, who was taken away by Bhisma, for Vicitravirya, was released on knowing

her relation with h l v a king. When she approached Salva, her lover, he rejected her and on return, her father was also not ready to accept her. Then to take revenge upon Bhisma, who caused her destitute, she performed penance in the forest and it is said that she was born as Sikhandin, a eunuch, in the sacrificial fire of king Drupada and later caused the death of Bhisma. She was pictured as a eunuch as she acted as a male abandoning femininity. Society was not willing to accept a woman to kill a hero like Bhisma, though it was not impossible in that age of trained heroic girls, to defeat a valorous person like Bhisma and as such depicted the character as a ~ikhandinor eunuch.

Savitri, daughter of ASvapati, got liberal education in luxurious royal family and so she became courageous, wise, gentle, adept [in the performance of duties] and respected by all. As no prince was ready to marry this educated and courageous girl, she chose prince Satyavan, son of exiled king Dyumatsena, as desired by her father. After one year, when Satyavan died, she followed Yama until ultimately Yama gave Satyavan back to her. The story of this noble wife shows that anything can be gained through chastity, devotion to husband and sacrifice, but it is to be noted that no story of a man who devoted his life to his wife was famous in any work in Indian literature. This story also hints to the fact that education was a drawback to woman for marriage and thus discouraging women education.

Damayanti Indian literature extols mainly conjugal love and pre marriage love is rare with the exception of Damayanti, Subhadra and Rugmini. Damayanti became a victim of the vice of dice of her husband. Though she followed him in his exile, he abandoned her in a lonely forest. After long sufferings, she reached her parental house and with their help, regained Nala, her husband. The importance of this story is that in that age daughters were allowed to stay in their house in a crisis. The story of SK is against this rule and practice.

Subhadra Subhadra, sister of Krsna and Balarama is an example of war and sport loving character. She enjoyed more freedom as the sister of Krsna and was brave and bold.

Sarmistha and Devayani Sarmistha and Devayani are important as the victims of the heterogamous relationship between brahmins and ksatriyas.

Purwas are considered as the historical work dealing with all the subjects in the three worlds. In number and subjects, they are very wide. So it is not easy to have a successful analysis of all the works of

this class. Hence, a general study of stray statements is considered here. The society being patriarchal, son was placed in the highest heaven. There were references favourable to daughters also. Thus, there are contradictory statements found in the texts. In Skandapuriinal (SkP) they are described as source of all sins2, death, poison, fire, destroyer of penance and hindrance to heaven. Praising statements like a daughter of sound character and conduct was as good as ten sons,

puutri as

savour of parents from hell 4, good wife as real holy place for righteous persons5 can also be found. Childhood was favourable treating them with affection and in turn, they showed respect to elders; examples of spoiled and sagacious daughters like Devayani and ~ a r m i s t hare ~ also included in them. Reference to sadyovadhas and brahrnaviidinis point to the fact that the education for women was not completely denied during the

P ~ r i i n a s Women .~ like Parvati and Aditi practicing penance and austere asceticism also were referred to.7 Remaining unmarried was a bar to heaven or s a l v a t i ~ nConcept .~ of wife is similar to that in Dharrna~iistra.~ She is the wife, who is clever and efficient in house hold duties, who speaks in sweet words to husband, and to whom husband is the breath or soul and who is chaste. The ideal wife should act according to the

' SkP. VIII. 3. 163, VII. 3. 36. 39 and SkP. I. I. 20. 64 SP.V. 24.16.21, BhavishyapurLinam.73.13, brahmapuranam 101.14.15 3 M P . I. 154,157. P.V.Kane op. cit pp. 510-11 LP. I. 5 . 31 PP. Bhiimikhanda. 59.22.7 M P . 20-27 7 M P7.3 SkP. I. 2.39 G P sLi bharyLi yLi grhe daksLi sb bharyLi y ~ priyamvadLi/sLi i bhanjLi y ~ patiprana i sa bharya ya pativrata.

wishes of her husband. She should try her best to serve all members of the family. Submission to wife was censured; at the same time, the concept of equality was also hinted there

l,

praises the harmony in

conjugal life, which nourishes women, and by which she would not go to another person even after her husband's death. Generally, remarriage was not accepted, however niyoga was not prohibited, but women were not allowed to pollute sexually. It is said that women always remain pure and whatever sexual sin they might have committed would be washed off every month after their monthly p e r i ~ dTwelfth .~ age was considered as the best period of a girl for marriage3 and remaining unmarried after puberty was censurable, which indicates prevalence of child marriage. K ~ n amade old maiden Kubja into a girl of twelve. Instances of svayamvara and more or less effective voice on the part of woman in the choice of mate, such as the episode of Kaca-Devayani could also be found in them. Marriage without motherhood would not become complete, but widow mother was respected only as mother4 and glance at her and her blessings were not considered as auspici~us.~ Husband, though physically mentally and financially not fit was to be respected. A wife becomes beloved due to the good actions of previous life and by sinful actions a woman becomes a bharyn- bharaniya

6.

This

indicates to the two types of relationship ie harmonious and

' VP.XII. 12. 13 SkP.IV. 4, V11.44. 130, Agni Purnna. VII. 165.6, BP. 11.47.40, I. 58. 106 SkP.VI. 722.47 and BP.72. 22 SkP.11. 9. 51 SkP.11. 9.13 VP. 11.20

heteronymous, between couples. One of the reasons for this might be the polygamy. Brahmavaivartapur~nasuggests starting daily duties after adoring husband with chanting a Snmavedic mantral and then with flowers, sandal paste, like that of a god Visnu2. She was barred from visiting assemblies, and should be submissive in action, word and mind to her husband and should not express her emotion before him.3 She should remain well adorned and well dressed in the presence of her husband and in his absence should never to beautify or to keep herself clean.' Unchaste wife was also, it is stated, provided protection in the same way to characterless h ~ s b a n d .He ~ is also advised to behave properly to avoid after death p ~ n i s h m e n tIt . ~is evident from the above that there were anti and favourable tendencies prevalent in the society commanding respect and compassion. The life of widow was pitiable and she was expected to lead a life with out worldly pleasures engaged in the worship of gods and not had no eligibility to worship a deity appearing in the p~blic.~Women independently8 and they were considered as at par with Szidra only.g The injunction is that even if a woman is sinful,10she should never be

BP. 16. 130-131,135 BP. 16. 136-142,16. 84. 15. 17 and 57.20 PP. Sr$ikhanda. 47.56 PP. 16. 64. 66;47ff .. MarP. 69.35.37 SkP.V. 3.121.4.6 SkP. 11. 9. 61- 65,111. 3. 1/22 LP. 11. 20-21 N P . V 5.9. 6, SkP. V . 3.103.22 'O LP. 178.17

discarded, killed or sexually outraged.' But, a contradictory statement is there in the Vi~nupurflnarn(VP), in a conversation between king Prthu and Prthvi justifying that it would not be sinful but auspici~us.~ The concept of woman in the Puranas is clear from the general qualifications3prescribed for her. The first and foremost is beauty itself. Truthfulness, nobility, duty, faithfulness to her husband, chastity, steadfastness, boldness, singing holy songs, being busy, excess of erotic feelings, sexual attachment, sweet speech are some among them. Garudapur~na(GP) contains censuring statements about women ruler^.^ The country ruled by woman is as same as that of a country without a leader or ruled by a child. To Purflnas, woman was only to be ruled-

bhayfl, but not a ruler. Her world is strictly confined to his house and life in household.

Coming to classical period, the writer, who comes first, is Bhasa and then Kalidasa. Works of Bhasa contain very few female characters. Among them Svapnavflsavadatta is the most important. There the heroine is Vasavadatta, the pupil and queen of king Udayana. Padm~vatiis also important, who had to undergo countless sufferings. Kalidasa reverently refers to Bhasa in his works. Others referred to by him are

BP. I. 58.106 VP. striuadhe tuam mahdpapam kim ... PP. bhumikhapda. 30-33 GP. 57.13

not known now. So among the predecessors of Kalidasa, only Bhasa is considered in this study.

Bhasa Bhasa is famous for his crispness in dialogue, action and all aspects of dramatic presentation. He became acceptable by portraying the characters especially neglected, belonging to various strata of society, from king to servants. These characteristics differentiate him from stereotypes.

Svapnavwsavadatta ( S V D ) is the story of king Udayana, entrusting the reign in the hands of his able minister Yaugandharayana led a carefree life and indulged in worldly pleasures, like hunting during which he lost most of his kingdom. To recover it, Yaugandharayana arranged his marriage with Padmavati, sister of DarSaka, king of Magadha. So while they were at Lavanaka, Yaugandharayana set fire to the camp in the absence of Udayana and convinced him that his beloved Vasavadatta died in the fire. The minister in disguise of a hermit entrusted Vasavadatta as a companion to Padmavati with the name Avantika. The king married Padmavati and could regain Vatsa kingdom with the help of DarSaka and Yaugandharayana revealed the truth to Udayana. Vasavadatta, daughter of Mahiisena was depicted as the respected and beloved wife endowed with all expected qualities. She, as a victim of the political strategy of the minister, prepared to face

humiliation for the welfare of the beloved husband. She had to initiate her husband marriage; even to wreath wedding garland for her CO-wife. This silent suffering and the great sacrifice of this woman were appreciated. Because she remained as a puppet queen, not only in the hands of husband but his minister1, followed the words of minister, as she had no other alternatives. This is clear from the expression of her feelings in soliloquy such as 'aryaputropi parakiyah samvytta, Sakiima iva

arya Yaugandharayano bhavatu'. These natural expressions are not expected from a noble woman in society, but condemned as feeble. Padmavati, the CO-wifeof Vasavadatta is depicted as an innocent child. She is a product of patriarchal society, who enjoys, not offends

her

husband's expression of greater love towards CO-wife,which made her good, generous and considerate in society. This is a drama, which depicts the harmonious life of

CO-

wives. But, Bhasa expresses his

concept of woman in a line 'hrnam dhirasvabh~veyamstrisvabhiivastu kiitarah'. No doubt, she is brave, but generally, woman is timid in nat~re.~ No other works of Bhasa depict the woman of timid nature, though his works contain few women characters. In Madhyamayayoga the woman character is Hidimba, a raksasi. Bhasa chose her to avoid the stereotype women characters. Being a raksasi leading a wanderer's life she did not want protection from outside. Attracted by prowess of Bhima, she approached him and had a child. Though they are generally,

l

SVD- aho aryaputropi.. .l SVD. IV. 8.

believed to be devoid of emotions, Bhasa depicted her

tender

emotions. In Pratimanataka (PN), Sita is depicted as a good wife and her union with Rama as ideal.' Sita finds happiness not in attaining the status of kingship, but in their happy life. Thus Bhasa, deviating from the work of Valmiki, depicted Sita with a discriminative power. Mothers are revered. Kausalya reproached herself for giving birth not to a loving son, when Rama left her alone.' However, this reverence depends upon her respect to her h ~ s b a n d The . ~ rule laid down by Bharata reveals the concept of

mother that a mother becomes not a

mother due to the droha to her husband. Kaikeyi expresses to Bharata the attitude of mother to children that there is no mother, who will not pardon the fault of son. But generally Bhasa depicted women without respect. In Abhisekanataka, (AN) Laksmana was in a dilemma when Rama ordered the fire test to Sita as he knew her faultles~ness.~ Tara, who was depicted as chaste, was ordered by Bali to follow his words.5 In Urubhanga (UB)there are no striking female characters. Only Gandhari and Pauravi are appeared on the stage as proud mother and wife respectively of heroic husband. ~ u r ~ o d h a says n a ~to G ~ n d h ~that ri he is praying to reborn as the son of G~ndhari.Duryodhana tries to turn

PN. 1.29 PN. 111. 9 PN. 111. 18 A N . dharmasnehntare nyasya AN.-mama vassdnugamini bhava UB. aharnabhitaputraprasavini

back Pauravi saying that heroic wives of heroic persons do not cry.' Bhasa depicts the sincerity in conjugal love through Udayana and Vasavadatta, Rama and Sita, and Vasantasena and Carudatta.

Buddhacarita of ASvaghosa is the story of Buddha, a descendent of Iksvaku dynasty in twenty eight cantos.' This work is important in this study giving a picture of antahpura and women connected with men through this. There he tried to foreground the alluring aspect of women through the love sports of Buddha in youth. He happened to see an old man when he went for outing and detached himself from the worldly pleasures. Buddha questioned the authority of Rama and ParaSurama who were recognised as the righteous and stressed the meaninglessness of worldly pleasures. This questioning instinct made Buddha not acceptable to the popular culture. Thus, it can be seen that the image of woman in literature was emerged out of existing world and moulded according to the mind and imagination of the writer. In every age, the way of putting woman has been seen primarily as wife, mother and sex object and their roles in relationship to men. Other than this, no role of woman such as individuals, thinkers, or even their mind or emotions are neither existent nor rear. In short feminist and anti feminist approaches were

U B I. 52 Buddhacarita. 111. 48-49

CO-existent,but the general trend was to suppress women in all spheres of life. These may be the reason for the absence of women as writers or any other intellectual activities. In Sanskrit, no woman writer is available, as they had no access to this language.

J Indian Philos (2011) 39:1–13 DOI 10.1007/s10781-010-9115-7

Rethinking the History of the Ka¯ma World in Early India Daud Ali

Published online: 4 January 2011 Ó Springer Science+Business Media B.V. 2010

Abstract This essay introduces a special issue on the history of ka¯mas´a¯stra in medieval India. It briefly reviews the secondary scholarship on the subject from the publication of the first translations of the genre at the end of the nineteenth century. It highlights the relatively unexplored history of later ka¯mas´a¯stra, and stresses the need for contexualized and detailed studies of the many ka¯mas´a¯stra treatises produced in the second millennium CE. The introduction, and the essays that follow, also argue for an expanded interpretive framework for the genre, moving beyond ‘sex’ and ‘sexuality,’ to a more widely defined notion of a ‘ka¯ma world’, in which sensual pleasure is understood as being deeply enmeshed with aesthetic, ethical and cosmopolitan cultures. Keywords Ka¯ma
Ka¯mas´a¯stra
Pleasure
Sexuality
Aesthetics
Ethics
Michel Foucault
Cosmopolitanism

Although examination of the sensible, sensual world of material reality formed a substantial component of premodern South Asian intellectual concern, texts that treat of such subjects have been largely understudied by modern scholars of South Asia. They have occasionally been used to shore up popular images of ancient India—from colonial theories of oriental debauchery to romantic visions of India’s mystical erotic arts—but rarely have they received serious historical and analytical scrutiny. The articles in this special issue hope to make an initial attempt to remedy this situation by exploring knowledge practices organized around what we would like to call the ‘ka¯ma world’ of early India. Within this world of art and music, precious gems and metals, colorful flowers, luxurious fabrics, and enticing D. Ali (&) Department of South Asia Studies, University of Pennsylvania, 820 Williams Hall, 36th and Spruce Streets, Philadelphia, PA 19104, USA e-mail: [email protected]

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perfumes, the urbane, cosmopolitan sophisticate cultivated his or her physical, mental and affective capacities in order to succeed in experiences of ‘pleasure’—which included the creation and enjoyment of beauty, the experience of passion and attachment, and the pursuit of courtship and seduction. The papers here contend that the literatures on pleasure, so conceived, were far more consequential in their implications for the lives of the elite in early India and more connected to wider domains of cultural practice than has been hitherto appreciated. The papers demonstrate that these sources have much to offer cultural and intellectual historians when submitted to nuanced contextualization and theoretically informed interpretation. Together, the essays in this issue advance the study of ka¯mas´a¯stra in several ways. First, they widen the scope of enquiry in relation to ka¯ma by postulating a wider range of practices that fall within its domain. Past commentators have generally understood the literatures of ka¯ma to be concerned strictly with acts related to sex and erotic love. This approach ignores a vast set of concerns within this literature which linked sexual pleasure with diverse issues, from domestic life, friendship and gender to material culture, cosmetics, and gardens. In the Ka¯masu¯tra, only one of its seven books treats the sex act itself. Later manuals likewise have much interaction with diverse domains of knowledge. We therefore propose a ‘ka¯ma world’ over a conceptualization of ka¯ma as sex or sexuality plain and simple. Second, the papers examine how the dynamics and contours of this world changed over time—both in practice and discourse—and suggest possible explanations for these transformations. Existing studies of ka¯mas´a¯stra have typically either confined themselves to a single text or merely noticed the difference between one text and the next rather than raise any questions about the evolution of the genre.1 Third, the essays explore the changing interfaces between ka¯ma and other aesthetic practices—some literary and some non-literary—which formed its ‘supports.’ As we shall see, ka¯ma was envisioned as a concern explicitly connected to a vast array of aesthetic activities and enjoyments, from perfume and ornaments to games and _ poetry. Considered ‘supporting’ knowledges (angavidya ¯ ) necessary for romantic accomplishment in the Ka¯masu¯tra, they were also widely understood as ‘arts’ (kala¯). Finally, the articles here implicitly address the wider significance of this ka¯mas´a¯stra as a whole, as well as the challenges and promises it offers in relation to key problems in the social and intellectual history of South Asia. The justification for such an expanded purview is justified by the ka¯mas´a¯stra texts themselves. In opening up the purview of ka¯ma to such a diverse range of aesthetic practice, the papers presented here hope to evoke, collectively, a ‘world’ which the authors feel manifestly palpable in the textual sources, though one which has been sidestepped by scholars whose concerns have been driven by different topical interests. Such historical evocations can sometimes run the risk of distortion in their reliance on particular sources (while implicitly de-emphasizing others). They also may portray given contexts with far greater coherence than may be sustainable. Some might even argue that any attempt to ‘recreate’ a world from the past is potentially epistemologically naı¨ve, always conveying more about the world of the authors than that of their subject of study. The papers here are very aware of 1

For a brief account of studies to date, see Wojtilla (1998).

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the restricted provenance and rarefied contexts of the ‘world’ evoked by Sanskrit sources on aesthetics and pleasure. Yet this world of thought and practice, we contend, was far from inconsequential or trivial. Indeed, the aesthetic practices of elites in South Asia, as elsewhere, in time spread in complex ways far beyond the confines of the aristocracy, becoming both the basis and counterpoint for the emergence of later forms of aesthetic practice. And once again, conceiving of aesthetics as a practice extending beyond the formalist and literary preoccupations of much writing on the subject may help us understand these processes of dissemination and negotiation, though they do not form the specific concerns of the papers presented here. We also do not conceive of the ka¯ma world as a historically static and seamless entity, but one that changed substantially over time. Characterizing and understanding the shifting contours of this world are of central importance to at least two of the essays here. Whether we present a world more akin to our own preoccupations than those of the texts, is of course a difficult question, one which is perhaps unanswerable. Yet we feel strongly that the texts vindicate our intertexual and outward looking approach. We hope that it will add a substantially new perspective and impetus for the study of these texts. A brief review of past scholarship on ka¯ma and ka¯mas´a¯stra will suggest why this is the case. The earliest European interpretations of ka¯mas´a¯stra were made by Orientalist translators. Sir Richard Burton and Foster Fitzgerald Arbuthnot published transla_ _ in the 1880s for private circulation under tions of the Ka¯masu¯tra and Anangara nga the auspices of the ‘Hindoo Kama Shastra Society.’2 In the prefaces to these texts Burton and Arbuthnot, addressing an imaginary public for whom sexual morals were a matter of intense debate, made impassioned defenses for their publication against potential charges of lewdity. They claimed that their original intention had been to have the texts rendered into Latin to prevent their falling into the hands of the vulgar, but on further reflection, were convinced that there was nothing immoral in them and that they fared well against works by authors like Rabelais and Petronius widely available in Victorian London.3 They argued that the presentation of materials in their texts was more sober and realistic than those of their own society, which, overburdened by religious doctrines of sin, treated sex, when they managed to do so at all, either ‘jocularly’, or ‘with a tendency to hymn the joys of immorality and the gospel of debauchery’.4 Arbuthnot and Burton presented ka¯mas´a¯stra as an alternative to Victorian moral excess and compared the work to controversial scientific manuals on domestic life, female physiology, and sex published in nineteenth-century England by medical doctors.5 Moreover, they felt that such texts could, as ethnographic documents, afford considerable advancement to the growing science of human sexual behavior. These two images, as exotica

2

Doniger and Kakar, who provide an assessment of Burton and Arbuthnot’s efforts (2002, p. li) point out that they probably did not translate these texts themselves, but were heavily assisted by Indian pandits. Also see Grant (2005) on the Orientalist framing of the text.

3

See Arbuthnot and Burton (1964, p. 16).

4

Arbuthnot and Burton (1964, p. 10).

5

Arbuthnot and Burton (1883, p. 6). On the texts cited, see McGrath (2002, p. 47 ff).

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recording the sexual habits of an Oriental civilization and as evidence of a nonwestern humanistic approach to sex, formed the dominant interpretive frames inherited by later generations of scholars, psychologists, and medical doctors who introduced the texts of the genre. Within a decade of Burton and Arbuthnot’s translation, the first printed editions _ _ of both the Anangara nga and the Ka¯masu¯tra appeared, and were followed in ensuing decades by the publication of other ka¯mas´a¯stra texts. At the same time, various studies appeared on the subject of sex and marriage customs in traditional India, relying on ka¯mas´a¯stra as well as other sources.6 The intellectual concerns of these works were typically derived, as with those drawn upon by Burton and Arbuthnot, from concern over the sexual customs and the role of women in traditional India—including not only on sexual behaviors but female physiology and psychology. To the extent that such research portrayed an overall assessment of women in ancient India, it was also drawn into debates in nationalist circles from the 1930s around the ‘status of women’ in Hindu civilization. Among the most notable of the earlier studies on sexual life in ancient India was Richard Schmidt’s Beiträge zur Indischen Erotik (1911) which provided the first and to date most comprehensive survey of the genre of ka¯mas´a¯stra, including an extensive list of works, (most unpublished at the time and cited from manuscript collections) followed by a topical survey of key subjects of the s´a¯stra with relevant quotations from particular works. As more ka¯mas´a¯stra texts were published in the first half of the twentieth century, two approaches to the genre crystallized which largely extended the attitudes of Burton and Arbhuthnot. On the one hand, scholars of ancient Indian history used ka¯mas´a¯stra texts, particularly the Ka¯masu¯tra, as sources in the first forays into the writing of social and cultural history of ancient India. This was attempted as early as 1929 by H. C. Chakladar in a ground-breaking work on social history in ancient India based on Va¯tsya¯yana’s Ka¯masu¯tra.7 S. K. De’s important study of love in Sanskrit literature, published in the same year, drew heavily on ka¯mas´a¯stra and a revised edition included a separate treatment of it.8 These works in many ways carried on the concerns of earlier scholars writing on the ‘customs of the Hindus’, but gradually introduced more refined analytical questions, historically grounded interpretive frameworks and complex models of society. A major topic which animated some of this literature, but which generated its own robust activity, was the status of women in early India.9 By the 1960s social history was firmly established in the field and many scholars had adopted a more materialist framework toward sex and society. N. N. Bhattacharyya, writing in the 1970s sketched a vast overview of sexual mores in ancient India, which from the outset eschewed ‘the myth that Indian civilization was a concrete unity,’ to argue that erotic literatures in India documented a gradual and uneven shift from pre-Aryan matriarchal social 6

See Schmidt (1904) and Meyer (1915) and for a much later work in this tradition, see Fisˇer (1967).

7

Chakladar (1929).

8

Both included in De (1959).

9

Inaugurated by Altekar (1938) and extended by various scholars. For a review of the literature and discusson of more recent feminist historiography, see Roy (1999a).

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organization to patriarchal structures under the influence of Vedic society.10 While such approaches served to provide richer contexts for ka¯mas´a¯stra, they sometimes also had the tendency to dismiss the concerns of the genre as the idle fantasies of a ruling or feudal class.11 More recently, however, studies of gender in early India have provided substantially more complex analyses of the role of sex, reproduction and the female body in the context of patriarchal structures, though they have less often focused on ka¯mas´a¯stra as a genre.12 The more prevalent interpretation of ka¯mas´a¯stra, however, was unconnected to these historical studies. Following Burton and Arbuthnot, publishers cast them as Indian contributions to sexological science. Translators repeatedly emphasized their sober and scientific attitude, correlated their vocabulary with modern medical and anthropological lexicons, and often retained Burton’s comparative notes on sexual customs in other cultures. More nationalistically inclined scholars hailed the practical and modern outlook of the ka¯mas´a¯stra authors that seemed to counter colonial arguments about the inherent otherworldliness of Indian intellectualism. In the 1950s and 60s the scientific credentials of these translations were presumably furthered by the inclusion of short epigrams in their front matter prescribing their sale to specialists, or, as one edition put it, to ‘members of the medical and legal professions, scholars and research students of Indology, psychology and the social sciences.’13 Other translations received the benefaction or active involvement of medical or psychiatric professionals. The major English translation of Kokkoka’s Ratirahasya, for example, was undertaken by the noted gerontologist and sexologist Dr Alex Comfort, who provided it with an elaborate introduction.14 Such associations were particularly common in European and American editions during the 1960s and 70s, when elements of the medical establishment served as a sort of legitimizing voice for rapidly changing attitudes toward sex. This wider shift in attitudes, combined with the contemporary turn toward eastern spirituality, conspired to create a lively market for translations of Indian erotica. And all of this produced a seemingly heady vindication of Burton and Arbuthnot’s original casting of these texts. Their prefaces routinely appeared alongside the scholarly accolades of doctors and psychologists in the introductory material of the many reprints of the _ Ka¯masu¯tra and Anangaranga. These stereotypes even entered the filmic medium, when, in Girish Karnad’s rendition of the Mr: cchakat:ika, (Utsav, 1963), the venerable Va¯tsya¯yana (author of the Ka¯masu¯tra) humoursly appears as an eccentric sexologist, peering into the portals of brothels with a notebook in hand! The presuppositions of this framework, however, were implicitly called into question by the arguments of the French sociologist Michel Foucault in his unfinished History of Sexuality. Foucault argued that modern medical, psychological and 10

Bhattacharyya (1975, p. 6).

11

See, for example, Bhattacharyya’s scathing remarks on na¯yika¯bheda and ka¯mastha¯na (1975, pp. 104–105).

12

Notable exceptions are Roy (1998, 1999b) and to a lesser extent Shah (2002).

13

Included in Upadhyaya (1965, p. iv).

14

Comfort (1964, pp. 43–100), who went on to write the hugely popular and influential book The Joy of Sex (1972). Doniger and Kakar (2002, p. li, fn. 61) note that Comfort’s translation was probably not his own.

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juridical knowledges conspired to make ‘sexuality’ a determinative feature of individual human development and identity. Modern scientific practices, then, did not so much discover, repress, or liberate human sexuality as much as they actually called it into being. He argued that this was a substantial transformation and reorientation of earlier attitudes and practices prevalent in the Christian West, and in later volumes of his history sought to analyze the place of sex within the conceptual and ethical frameworks of Hellenic and Roman societies. Focault’s work inspired intense debate among scholars already working on issues of sex and sexual identity in classical and medieval western society, but had little impact on the study of ka¯mas´a¯stra.15 Though Foucault was not specifically concerned with non-European societies, he did make a broad historical distinction between what he called two ‘great procedures for producing the truth of sex’: ars erotica and scientia sexualis.16 While the latter of these, the ‘science of human sexuality’, was unique to the postmedieval West, Indian, Arab, Roman, and Chinese societies, for example, possessed traditions which understood sex as an ‘art of pleasure’. The distinction between the two, according to Foucault, was that scientia sexualis and its antecedents sought the ‘truth of sex’ in the laws of the individual human body and psyche, whereas ars erotica drew the ‘truth of sex’ from pleasure itself, with its own interior logic and esoteric structure. Though Foucault’s characterization of Indian discourses on sex is surely too generic, his wider distinction does underscore the historical novelty and specificity of scientia sexualis and its putative object of study, ‘sexuality.’17 While ka¯mas´a¯stra surely had features of an organized and systematic knowledge and thus resembled a science in its looser sense, it was neither based on a strictly empiricist epistemology, nor was it exclusively concerned with the physiological, psychological, and behavioral aspects of sex. The idea that Va¯tsya¯yana was a celebrant of ancient Indian sexuality or an Indian fore-runner to ‘sexologists’ like Havelock Ellis or Alex Comfort, thus, is not sustainable.18 Nor was ka¯mas´a¯stra and its allied knowledges linked to state institutions involved in the regulation of bodies and populations, a defining feature of modern ‘sexuality’ as described by Foucault.19 Even a basic familiarity with the early Indian materials immediately reveals that the institutional patronage, epistemological procedures, physiological, mental and moral assumptions, parameters of provenance, and sometimes even the practical ends of ka¯mas´a¯stra were often significantly different from those of modern psychology, medicine and sexology.

15

For Foucault-inspired debates on classical sexuality, see Halperin et al. (1990).

16

Foucault (1984, p. 57ff).

17

While Doniger and Kakar’s (2002, p. xv) criticism of Foucault as Eurocentric is fair insofar as Foucault’s remarks on non-Western traditions were largely programmatic and contrapuntal, their contention that ka¯mas´a¯stra shares elements of both scientia sexualis and ars erotica is less helpful. Recent attempts (Vanita and Kidwai 2001) to recuperate lesbian and gay identity and experience from early ka¯mas´a¯stra texts, while alerting us to important dimensions of same sex relations, are not entirely convincing. 18 On the epistemological operations of s´a¯stra, see Pollock (1985). 19 The application of Foucault’s notion of the medicalization of sexuality to early India by Sweet and Zwilling (1993, p. 607) is thus misplaced.

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Rethinking the History of the Ka¯ma World in Early India

7

What useful insights, then, does Foucault’s History of Sexuality afford us? The suggestion of ‘pleasure’ as a rubric over ‘sexuality’ is fruitful. It helps us see that sexual pleasure in ka¯mas´a¯stra texts was at once both less and more than what is usually denoted by the term ‘sexuality’ in modern understandings. Sex, for example, was not deemed fundamentally essential or formative for individual identity and was neither an attribute rooted in the deep recesses of the human personality nor a biological essence to be probed, confined, or liberated. Ka¯mas´a¯stra texts tended to be framed by other concerns, the most general of which understood pleasure as one among three axiological arenas of human effort (known as the group of three, or trivarga, the others being politico-material gain and moral rectitude) which together were deemed to constitute an ethically complete life in the world. From this vantage point ka¯mas´a¯stra sought not to free human desires from social repression, but to provide an ethical/practical framework for the enjoyment of pleasures. The trivarga conceptualization was not an ethical vision without a history, and not one without its own inner tensions and debates.20 In some arenas sexual pleasure formed a topic of extended consideration and ideological investment. It is here that sex tended to be connected to other forms of knowledge, including wider discourses about pleasure and aesthetics typical of the courtly milieu. Sexual pleasure also came in later times to be associated with complex and sometimes esoteric anatomical maps of the body that connected to medical, astrological and religious knowledges.21 Throughout its history it is clear that ka¯mas´a¯stra addressed itself both to a restricted social milieu while at the same time authorizing a capacious set of wider objectives and supports. So despite its apparent autonomy as a sphere of human activity, ka¯ma was not abstracted into a special, sui generis, category in and of itself, but instead formed part of wider practices of aesthetic, material and ethical self-transformation. This, we feel, should form the basis of the study of the genre and has prompted our call for a ‘ka¯ma world’. Though there are several directions that beg further exploration from this perspective, the essays here take up two: the relation of ka¯ma to other domains of aesthetic pleasure, and the changing contours of the field of ka¯mas´a¯stra itself. Approaching ka¯ma as an aesthetic practice raises the complex issue of the relation of erotic love to early Indian aesthetic culture more generally. Though the close links between these domains have occasionally been remarked upon,22 recent work on Sanskrit literature gives us cause for revisiting this relationship. Sheldon Pollock’s groundbreaking scholarship on Sanskrit literary culture in classical and medieval India, for example, has significantly broadened traditional perspectives on literature by focusing our attention on the inner dynamics and social world of literary production.23 New interpretive frameworks like ‘literary culture’ and metahistorical processes like ‘cosmopolitanism’ and ‘vernacularization’, have 20

The idea seems to have emerged in the smr: ti period, and s´a¯stras very frequently consider the relative ordering of these domains—with the overwhelming tendency to place dharma above the others. On the ordering of the trivarga, see Rocher (1985) and Malamoud (1996). 21 A recent study by Das (2003) explores changing docrines of conception in ka¯mas´a¯stra and a¯yurveda texts. 22

See Warder (1972, p. 11ff.) and De (1959, p. 104).

23

Presented in a number of articles, but most forcefully in Pollock (2006).

123

8

D. Ali

substantially reinvigorated the field in ways which are still very much being worked out. Pollock’s oeuvre has decisively shifted focus away from the traditional analytical objects of religion and the state by insisting on the importance and irreducibility of aesthetic production as an integral element of elite culture. This itself has significant implications for the analysis of ka¯ma. Yet Pollock’s ideas of cosmopolitanism, vernacularization, and aesthetics more generally, have been consciously confined to the realm of the literary. There is, of course, some justification for this, as formal reflection on aesthetic experience was articulated most volubly in the 24 extensive and well defined field of Sanskrit poetics (alam : ka¯ras´a¯stra). But poetics hardly exhausts the realm of aesthetics more generally, and numerous discourses survive which conceive of aesthetic pleasure as proceeding from wider conceptions of sensory phenomena. The essays here make the case for extending the parameters of aesthetic experience, and consequently those of analytical scrutiny, beyond the confines of self-conscious literature. They suggest that a diversity of aesthetic practices formed important elements of elite self-regard, and were closely articulated with a diverse array of material objects as well as social relationships of various kinds. By attention to these realms of aesthetic experience, particularly as they pertain to ka¯ma—and keeping in mind their close relations with literary realms—the articles here attempt to extend research on aesthetics beyond its existing boundaries and to refine some of the groundbreaking insights of recent literary study. Accessing these realms of aesthetic experience, however, is a complex interpretive matter. This is the case for a number of reasons, not least being that erotic love formed the preferred subject of much literary composition. This of course underscores the importance of the topic for the ‘mental structures’ of early Indian society, and presents us with a panoply of highly mannered and conventionalized representations which themselves are worthy of study. But the relationships of such representations with social reality beyond these texts is often difficult to establish. Recourse to s´a¯stric texts is useful here. On the one hand, poets and poeticians would seem to depend on conventions of ka¯ma as found in ka¯mas´a¯stra. This is apparently confirmed by the treatises instructing poets, (alam : ka¯ras´a¯stra) which deploy the same terminology to refer to lovers (na¯yaka/na¯yika¯) used in the ka¯mas´a¯stra. Indeed, the authors of alam : ka¯ra treatises recommend the ka¯mas´a¯stra as one of the knowledges to be mastered by the competent poet, and commentators to Sanskrit literary works often display this knowledge. Moreover, as Patel demonstrates in his paper in this issue, the categories of ka¯mas´a¯stra were even deployed as critical schema for thinking about canon specification among literary critics and commentators more generally. Yet it would be overly simplistic to assume that the relationship was one way, for many early ka¯mas´a¯stra texts not only include poetic virtuosity as a supporting knowledge for the pursuit of ka¯ma, but borrow heavily from literary conventions in their own theories about love and lovers. Ali demonstrates the ways in which the author of the Na¯garasarvasva borrows heavily from literary traditions to supplement categories long familiar to ka¯mas´a¯stra. The relation between the genres was so close that some later ka¯mas´a¯stra texts like the

24

See particularly the treatment of the subject in Pollock (2001).

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Rethinking the History of the Ka¯ma World in Early India

9

Ka¯masamu¯ha actually incorporate substantial numbers of subha¯s: itas from the ka¯vya traditions alongside traditional ka¯mas´a¯stric material. The entanglement between the realms of literature and ka¯ma, thus, is deep and mutually constitutive. There are of course other realms of sensual pleasure integral to the ka¯ma world to which discourses on poetics (alam : ka¯ras´a¯stra) were largely indifferent, but that were nevertheless pervasive in poetry itself. Here we may note the vast array of domains of body and material culture, including perfumes, exotics, horticulture, fabrics, foods, gems, ornamentation, cosmetics, unguents and coiffure, as well as specific practices, including processions, games, conversation, the use and interpretation of signals, the taking of wine and betel nut. While none of these realms generated a philosophically reflective discourse about aesthetic appreciation, they were nevertheless integral to the sensual experience of elites—poetic representations depict them as major preoccupations of the courtly nobility. Many formed the subject of distinct s´a¯stric treatises while others were included in the courtly and sumptuary compendia for kings and nobles composed throughout the second millennium CE. An earlier generation of scholars took interest in these worlds, and we hope to rekindle interest in these knowledges and practices as part of a more diversely conceptualized aesthetic culture in early India.25 McHugh’s essay in this volume draws our attention to a particular preoccupation of some ka¯mas´a¯stra texts which was shared by other medieval sumptuary and liturgical manuals: the acquisition and use of exotic commodities. These objects were not only themselves subject to a discourse of connoisseurship, but were closely imbricated with notions of power and cosmopolitan consumption. McHugh’s essay makes it clear that any notion of aesthetics in medieval India must take into account this material world. The other subject which these essays hope to address is the history of ka¯mas´a¯stra as a distinct field of knowledge. Presently, any such endeavor must be tentative at best, given our current knowledge of the texts and traditions in question. Despite the pioneering work done by Schmidt a century ago, only a handful of texts have been available in print until very recently—and our understanding of their provenance, authorship and chronology is often highly uncertain.26 Moreover, the study of ka¯mas´a¯stra has been dominated by work on Va¯tsya¯yana’s Ka¯masu¯tra, which has had the effect of obscuring the very substantial number of ka¯mas´a¯stra texts that survive from later times.27 The Ka¯masu¯tra’s prominence is partly because it has been touted as the earliest and most authentic specimen of the ka¯mas´a¯stra discovered to date.28 It is also because the Ka¯masu¯tra was associated with the humanist values of ‘classical’ India rather than the degenerate traditions of later, medieval times.29 The later ka¯mas´a¯stras, to the extent that they have come under any scrutiny 25

See Gode (1960–) and Agrawala (1969).

26

Important is the publication of Shastri (1967).

27

The only exception to this is the encyclopedic work of Schmidt (1922). Bhattacharya (1975, pp. 102–122) and Comfort (1964, pp. 83–107) have very brief discussions of later literature. 28

The Ka¯masu¯tra names a number of earlier authorities which have not survived as separate works, thought they continue to be mentioned by later works in the field. For a treatment of pre-Va¯tsya¯yana works, see Agrawala (1983).

29

See the remarks of Gupta (2002, p. 47).

123

10

D. Ali

at all, have been deemed demotic, vulgar or even puritanical renditions of an earlier classical tradition marked by an open vision toward human sexuality. W. G. Archer, in introducing Comfort’s translation of the Ratirahasya, asserts that in medieval India, with the living conditions being ‘much harsher. . .Morals were tighter. There was more strain’.30 Such interpretations have relied heavily on tropes of ‘medieval decline’, Islamic moral conservatism, and later even ideas of Victorian prudery which have long been complicated and challenged by historians. With renewed research and interest in culture and society in the second millennium CE, these narratives seem more like substitutes than tools for deeper analysis. One important point worthy of reconsideration is the pre-eminent status given to Va¯tsya¯yana’s Ka¯masu¯tra in the history of ka¯mas´a¯stra. When colonial authors encountered this literature, it was the later treatises that constituted the standard configuration of knowledge on ka¯ma. Indeed, the first text encountered (and published by) Burton and Arbuthnot, under the title Ka¯ma S´a¯stra, was not the Ka¯masu¯tra, but a _ _ by Kalya¯n: amalla. In a later release of this fifteenth-century treatise, the Anangara nga work under its proper title, the translators noted that it was commonly called ‘Koka Pandit’ after a popularly ascribed author and that ‘lithographed copies have been printed in the hundreds of thousands, and the book is in the hands of both sexes and all ages, throughout the nearer East and possibly it may extend to China and Japan.’31 While the latter of these claims may be difficult to substantiate, together they suggest two points. First, that by the end of the nineteenth century there seems to have been a conflation between Kalya¯n: amalla and Kokkoka, author of the more widespread work known as the Ratirahasya. This conflation was noticed by Schmidt, writing several years later, who observed further that the authorship of Kokkoka or ‘Koka’ was so popular that the term ‘Kokas´a¯stra’ came to denote the genre of ka¯mas´a¯stra itself.32 Second, and more importantly, the Ratirahasya, Anan_garan_ga and other later treatises seem to have circulated very widely and held great influence. This is clear enough from Schmidt’s work, which noted a vast array of texts using manuscripts and manuscript catalogues. Some of these later texts were also translated into vernaculars. Often associated with the name ‘Koka’, they appeared in popular print editions and pamphlets in the early twentieth century—and had their own interesting histories in the emerging vernacular language public spheres.33 Indeed, while Va¯tsya¯yana and his Ka¯masu¯tra were not unknown, treatises like the Ratirahasya and Na¯garasarvasva seem to have exerted more influence throughout the second millennium both within and beyond the ka¯mas´a¯stra tradition.34 Literary commentaries written in the thirteenth and fourteenth centuries, for example, routinely cite these texts rather than the Ka¯masu¯tra when referring to 30

Archer (1964, p. 21). For a more recent (and sweeping) version of this argument, see Zysk (2002, pp. 4–5). 31

Arbuthnot and Burton (repr. 1964, pp. 14–15.).

32

Schmidt (1922, p. 64); see aslo Comfort (1964, p. 54).

33

For a discussion of sex manuals published in Hindi, see Gupta (2002, pp. 49–66, esp. p. 53, fn. 80).

34

The sixteenth-century Kandarpacud: a¯man: ¯ı, for example, was a verse rendition of Va¯tsya¯yana’s treatise.

123

Rethinking the History of the Ka¯ma World in Early India

11

technical aspects in ka¯mas´a¯stra.35 When the fifteenth-century poet Ananta compiled his Ka¯masamu¯ha (‘Anthology on Ka¯ma’) from earlier authorities, he included substantial material from the Ratirahasya and Na¯garasarvasva, but none from Va¯tsya¯yana’s text.36 One reason for this may have been a change in the style of ka¯mas´a¯stra texts. While Va¯tsya¯yana’s text is a su¯tra composition consisting mostly of short prose sentences (with occasional verses at the conclusion of each chapter), the vast majority of later ka¯mas´a¯stras are composed entirely in verse.37 It would seem that like nı¯tis´a¯stra, the latter day history of ka¯mas´a¯stra was stylistically and thematically intertwined with the growth and evolution of ka¯vya. Their verse form made them more prone to extraction, citation, and circulation and it is thus not surprising that medieval subha¯s: ita anthologies included verses from the authors of these treatises considerably more frequently than material from the Ka¯masu¯tra.38 Indeed, it could be argued that t is through such verses that ka¯mas´a¯stra retained strong avenues of interaction with other spheres of literary and intellectual production. This inversion of chronological emphasis within the tradition demands greater attention to world of medieval ka¯mas´a¯stra. It has long been noted that new categories of lovers, concepts of the body and magical doctrines seem to be introduced into later texts. Recently, Kenneth Zysk has even proposed the emergence of a related but distinct tradition of ‘ratis´a¯stra’ centered around the conjugal couple and reproduction.39 The essays of Desmond and Ali take two different methodological approaches to the problem of accounting for change within the ka¯mas´a¯stra tradition. Desmond surveys the vast panoroma of ka¯mas´a¯stra and the changing subjectivities that it interpolated over time, while Ali looks closely at a single text, the Na¯garasarvasva of Padmas´rı¯, to assess the configuration of the s´a¯stra and its relations to other knowledges, particularly aesthetic and tantric knowledges, at a particular moment in time. Both essays are concerned with the changing relations between ka¯mas´a¯stra and the social world as well as its relationship with other fields of knowledge and practice.

References Agrawala, P. K. (1983). The unknown Kamasutras: Being an anthology of the ancientmost love-aphorisms of seers of the tradition and its expositors. Varanasi: Prithivi Prakashan. Agrawala, V. S. (1969). The deeds of Harsha: Being a cultural study of Ba¯n: a’s Harshacarita. Varanasi: Prithvi Prakashan. Arbuthnot, F. F., & Burton, R. (1883). Preface. In F. F. Arbuthnot & R. Burton (Trans.), The Kama Sutra of Vatsyayana. London: Hindoo Kama Shastra Society. Arbuthnot, F. F., & Burton, R (repr. 1964 [1885]). Preface. In F. F. Arbuthnot & R. Burton (Trans.), The Ananga Ranga or the Hindu art of love. New York: Lancer. 35

These citations are frequently mentioned in discussions about the dating of later ka¯mas´a¯stras. See entries for specific texts in Schmidt (1922).

36

See Pathak (2008, pp. 254–266).

37

A shift which may be noticed in various s´a¯stric literatures, most notably nı¯ti/artha. Notable exceptions include the unusual but probably comparatively recent and related texts Pauravamanasijasu¯tra and Ka¯dambarasvı¯karan: asu¯tra attributed to king Pururavas 38 Compare, for example, the appearance of verses in medieval anthologies attributed to Kokkoka and Padmas´rı¯ to those attributed to Va¯tsya¯yana. Sternbach (1978, s.v.). 39

See Zysk (2002, pp. 9–14).

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Archer, W. G. (1964). Preface. In A. Comfort (Trans.), The Koka Shastra: Being the Ratirahasya of Kokkoka and other medieval indian writings on love. London: Allen and Unwin. Bhattacharyya, N. N. (1975). A history of indian erotic literature. Delhi: Munshiram Manoharlal. Chakladar, H. C. (1929). Social life in ancient India: Studies in Va¯tsya¯yana’s Ka¯masu¯tra. Calcutta: Greater India Society. Comfort, A. (Trans.). (1964). The Koka Shastra: Being the Ratirahasya of Kokkoka and other medieval indian writings on love. London: Allen and Unwin. Das, Rahul, P. (2003). The origin of a life of a human being: Conception and the female according to ancient indian medical and sexological literature. Delhi: Motilal Banarsidass. De, S. K. (1959). Ancient indian erotics and erotic literature. Calcutta: Firma K.L. Mukhopadhyay. Doniger, W., & Kakar, S. (2002). Introduction. In W. Doniger & S. Kakar (Trans.), The Kamasutra. Oxford: Oxford University Press. Fisˇer, I. (1967). Indian erotics of the oldest period. Praha: Universita Karlova. Foucault, M. (1984). The history of sexuality, Vol. 1: An Introduction. (R. Hurley, Trans.). New York: Penguin. Gode, P. K. (1960, 1961, 1969). Studies in indian cultural history (3 Vols.). Horshiarpur: Vishveshvaranand Indological Institute. Grant, B. (2005). Translating the Kamasutra. Third World Quarterly, 26(3), 509–16. Gupta, C. (2002). Sexuality, obscenity, community: Women: Muslims and the Hindu public in colonial India. New York: Palgrave. Halperin, D., Winkler, J., & Zeitlin, F. (Eds.). (1990). Before sexuality: The construction of erotic experience in the ancient greek world. Princeton, NJ: Princeton University Press. Malamoud, C. (1996). Semantics and rhetoric in the Hindu hierarchy of the ‘aims of man’. In C. Malamoud (Ed.), Cooking the world: Ritual and thought in ancient India. Delhi: Oxford University Press. McGrath, R. (2002). Seeing her sex: Medical archives and the female body. Manchester: Manchester University Press. Meyer, J. J. (1915). Das Weib im Altindischen Epos. Leipzig: Heims. Pathak, A. S. (Ed. and Trans.) (2008). Ka¯ma Samu¯ha of Srı¯ Ananta Kavi. Varanasi: Chaukhambha Sanskrit Samsthan. Pollock, S. (1985). The theory of practice and the practice of theory in Indian intellectual history. JOAS, 105(3), 499–519. Pollock, S. (2001). The social aesthetic and Sanskrit literary theory. Journal of Indian Philosophy, 29, 197–229. Pollock, S. (2006). The language of the gods in the world of men: Sanskrit, culture, and power in premodern India. Berkeley: University of California Press. Rocher, L. (1985). The Ka¯masu¯tra: Va¯tsya¯yana’s attitude toward Dharma and Dharmas´a¯stra. JOAS, 105(3), 521–29. Roy, K. (1998). Unraveling the Kamasutra. In M. E. John & J. Nair (Eds.), A question of silence: The sexual economies of modern India. Delhi: Kali for Women. Roy, K. (Ed.). (1999a). Women in early indian societies. Delhi: Oxford University Press. Roy, K. (1999b). The King’s household: Structure/space in the Sastric Tradition. In U. Chakravarti & K. Sangari (Eds.), From myths to markets: Essays on gender. Delhi: Manohar, IIAS. Sastri, D. (Ed.). (1967). Ka¯makuñjalata¯ (A collection of rare works on Ka¯ma s´a¯stra). Varanasi: Chowkhambha Sanskrit Series Office. Schmidt, R. (1904). Liebe und Ehe im alten und modernen Indien. Berlin: Verlag von H. Basdorf. Schmidt, R. (1922 [1911]). Beiträge zur Indischen Erotik: Das Liebesleben des Sanskirt Volkes. Berlin: Verlag von H. Basdorf. Shah, S. (2002). In the business of Kama: Prostitution in classical Sanskrit literature from the seventh to thirteenth centuries. Medieval History Journal, 5(1), 121–56. Shastri, D. (1967). Ka¯makuñjala¯ta¯. Varanasi: Chaukhamba Sanskrit Series. Sternbach, L. (1978). A descriptive catalogue of poets quoted in sanskrit anthologies and inscriptions (2 Vols.). Wiesbaden: Otto Harrassowitz. Sweet, M., & Zwilling, L. (1993). The first medicalization: The taxonomy and etiology of queerness in classical Indian Medicine. The Journal of the History of Sexuality, 3(4), 590–607. Upadhyaya, S. C. (1965). The Hindu secrets of love: Kokashastra (Rati Rahasya) of Pandit Kokkoka. Bombay: D. B. Taraporevala Sons and Co. Vanita, R., & Kidwai, S. (2001). Same-sex love in India: Readings from literature and history. Delhi: Macmillan. Warder, A. K. (1972). Indian Ka¯vya literature (Vol. 1). Delhi: Motilal Banarsidass.

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13

Wojtilla, G. (1998). Ka¯mas´a¯stra—A short report on stand, methods, and tasks of researh. In J. Vace & J. Dvorak (Eds.), Trends in Indian Studies: Proceedings of the ESIS. Prague: Charles University Press. Zysk, K. (2002). Conjugal love in India: Ratis´a¯stra and Ratiraman: a. Leiden: Brill.

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II Chapter Specific Sources Of Cosmetics & Perfumes 2.1 Ayurveda

Caraka Sarphita, Susruta Samhita, Astahgahrdaya of Vagbhata,

Cakradatta of Cakrapanidatta, Sarngadhara Samhita,

Bhavaprakasa,

Bhaisajyaratnavah

Yogaratnakara

2.2 RasasastrafAlchemy texts) & Tantrasastra texts •

Rasaratnakara & Kamaratnam

2.3 Kamasastra texts : Kamasutram of Vatsayana, Rattrahasya, Pancasayaka,

Nagarasarvasva & Anangaranga

II Chapter [Specific Sourcj^OnJ^osmetics &_Pmfujvies] ( Ayurveda, Rasasastra & Kamasastra Texts )

2.1 Ayurveda Everybody's aim is to live a happy life Therefore, all human activities are destined towards the happiness Accordmgly Astanga Hrdaya,a treatise on Ayurveda, mentions Ucfydfli

TO

I

AH SO 2-20

Sukha includes sensual enjoyment through worldly pleasures. For enjoymg all these one must have sound body 85 mmd Ayurveda, the world's oldest existing Health Care System, is aiming at alleviating the suffering and helps to live a healthy, virtuous, wealthy & happy life. Thus, the purpose of Ayurveda is twofold1)

1 e curing the disease

2) FR2JFT TSTnjotT 1 e. maintenance of healthy life in order to prevent diseases 1 Ayurveda for its medicmes depends largely on plant kingdom and minerals Some animal products are also used. They are used either individually or m combination. The consumption of these substances mcreases resistance, strength, intellect & longevity and delay in aging process. Hence they are also designated as Rasayanas. Moreover, some of them are used as stimulaters of sex desire, sex vigour, fertility and

1 gar

' 3?

anfeqRte, Tmw 74

1 ss su 1-14

to cure sterility and other disorders related to sex. Hence they are also called Vajikarana drugs In this background, Ayurveda is very much related to improve overall physical, mental quality of a person The products used as nutritives have the cosmetic 8s perfumery values too. Thus, there is a direct relationship between the Ayurveda and Gandhasastra i.e the science of Cosmetics 8s Perfumery. The herbal

products - m the form of Svarasa i.e. expressed juices, Kalka i.e pastes, Kvatha i.e.decoctions, Hima 1 e. cold infusions, Phanta i.e hot Infusions

and Curna i.e. powders - play a major role m cosmetic and perfumery Industry. So a survey is undertaken to glance the medicinal literature m this background. According to Ayurveda, Beauty is not mere a cosmetic event. It mcludes all other factors like food, genetics, environment etc. It also advises that the entire body acts as one unit. Therefore, Ayurveda prescribes to maintain a good health which is root cause of beauty by practising an orderly life style This is termed as Dinacarya i.e. daily routine Dinacarya (Daily Regimen) -

As said earlier, Svasthasya Pariraksanam i.e maintenance of healthy life is one of the purposes of Aryurveda. Susruta prescribes some remedial

measures m Cikitsasthana as Dinacarya so as to prevent the diseases yet to arise. He designates it Anagatabadhapratisedha(Ch 24) l e prevention of disorders yet to arise Susruta says . 75

'Held ^eR^MKi^P-l^cll I #TdT

deSW TO^rT II SS Cl 24-3

In addition to that following daily regimen is prescribed for preventing the diseases. They are • l)Dantadhavanam-Brushing of teeth with the twig of certain trees 2} Jivhvamrlekhanam - Cleaning the tongue with tongue-scraper made of

gold, silver or wooden 3) Snehagandusadharanam - Washing the mouth with Oil Gargling 4) Mukhanetrapraksalanam - Face wash & Eye wash with cool water or

with Amalaka, Lodhra & Ksiravrksakasaya 5) Ahjanam - Applying collynum to the eyes 6) Tambulam -Chewing of betel-leaf with a view to rendering the mouth

clean & fragrant 7) Sirobhyanga -Massaging the head with oil for keeping the hair healthy

wherein medicated & perfumed oils are used. 8) Kesaprasadhanam - Combing of hair for removing dirt & lice from the

head 9) Karnapuranam - Filling the ear with oil in order to avoid Kamasula i e ear

diseases 10) Abhyanga - Anointing the body with oil which keeps the skin smooth

8s healthy and is invigorating

76

11) Vyayama-Physical exercise for ensuring all-round health & well being 12) Udvartana - Massaging various parts of body unth unguent 13) Udgharsana & Utsadana - Scrubbing and rubbing the body with brick

bat or smooth stone for removing the dirt sticking to various parts of the body 14) Snanam - Bathmg with warm water (A caution is given that hot water

should not be used for washing the head as it may hurt the eyes) 15)

Anulepanam - Anointing the body with sandal paste or any other cosmetic products

16) Sumanombararatnadharanam - Wearing clean clothes, flower garland

and gems. 17) Mukhalepah - Smearing the face with face powder or cream 18) Padatranadharanam - Wearing shoes 19) Kesanakharomapamarjanam - Hair dressing & painting of nails. 20) Banavaram - Putting on armour for personal protection 21) Usntsam - Putting turban on the head 22) Chatradharanam- Using umbrella 23) Dandadharanam- Walking stick use 24) Balavyajanam- Using chownes or fan 25) Samvahanam- Pressing the body 26) Kale Nidrasevanam -Sleeping at appropriate time

77

Though all of the above mentioned activities are not directly related to Cosmetics & Perfumes, m some of these activities the cosmetic & perfumery products are used They are * 1) In Dantadhavanam.the twigs of Nimba, Khadira, Madhuka &Karanja are used as they have Tikta, Kasaya, Madhura & Katu properties in them respectively 2 Caraka advices that a green twig which is crushed at the proximal end 8s is of the Kasaya (astngent) Katu (pungent) or Tikta (bitter) taste should be used for brushing twice a day without injuring the gums.3 2) In Mukhapraksalanam, the decoction ofLodhra or Amalaka is used, or with cold water only. 4 3} Ahjanam is one of the important activity of make-up 2wm WfC ta

4xpl> *ppt

4ft

I ii

CR33TS cfigcp flSJT |

ISctfBdl of cTCTfftflT and

ttlfow frsfa^l SS Cl 24-6,7,8

of M£l4T mention the preparation of perfumed tooth sticks

for brushing 33*]qtf§lcTO

It cR# obt||£(cbd^cWchH |

idr cR#?itpcRiT i cfi^ireRTg II 9TFRT

4 ftwk«b*6||
$

dNdfcl'yT pTS I CS Su 5-71bto74a

c$c|IH?|ct*4 ctf |

JraW^HUsf ^ ^R«TI ?hdiecbH cJT II SS Ci 24-15b&16a

78

4) In Tambulam, the ingredients like Karpura, Jatiphala, Kakkola, Lavanga and Katuka along with the powder of Puga are used 5 Tambulam tends to cleanse the mouth, imparts sweet aroma, enhances brightness 8s cleanses 8s strengthens the voice, the tongue,the teeth, the jaws 8s the sense organs 6 5) In Sirobhyanga, an oil made up from mixing equal quantity ofMadhuka, Ksirasukla, Sarala,Devadaru etc is used;7 even the benefits ofAbhyanga are also mentioned.8 6) InAnulepanam, the paste of Candana is used The process of Mukhalepana, being a constituent of Anulepanam, has many cosmetic benefits 9 Thus, Cosmetics & Perfumes play an important role m a healthy routme of a man

5

I qw dFf-R ^ II SS Ci 24-21

6 3^9l^^cblRl^Bcl4)Kcb*i; | II Ibid 24-22 7

$kgcR?iT g w

*r I

ModdH'R WlFTlftr Whf II

cjwcbewwiwn ^4

f^qwild I *\

3RTPpf clW lOTJci II Ibid 24-27,28

8 3I^j|r Ml4c|cb
9

i 3WiiFteeb qjRT

II Ibid 24-65

79

Rtucarya (Seasonal Regimen) -

There is a very intimate relationship between the individual and environment Seasonal changes 8s climatic conditions have a direct impact on health system Ayurveda advises us to recognize & respond to the environmental changes 85 maintain an equilibrium withm the body. This is called Rtucarya. According to climatic variations, ancient Indians have classified the seasons m to six. They are Hemanta, Sisira, Vasanta, Grlsma, Varsa & Saradrtu Hemanta & Sisira are cold seasons; Grisma is hot, Varsa is rainy season; Sarad and Vasanta are moderate. There are changes of Dosas m the

body by seasonal variations over which there is no human control , whereas, it is possible to keep the variations of Dosas to the minimum by changing the mode of living. The balancing measures are in the form of Ahara{diet), l///?ara (exercise) and Paaca/carma(purifactory measures). These measures

prevent diseases and promote the health. Here the abundant usage of cosmetic 8s perfumery products is found Vagbhata,in his Astangahrdaya, prescribes six recipes as facials for six seasons m which many cosmetic items are mcluded. They are enumerated as under which are commencing from Hemantartu

•

1) Mixture ofKola seeds, root ofVrsan, Sahara, Gaurasarsapa (white mustard) are to be used in Hemanta

80

2) Simhi root, Krsnatila, bark of Dan/I and dehusked Yava in Sisirartu 3) Darbha root, Hima, Usira, Sirisa, Misi and Tandula in Vasantartu 4) Kumuda, Utpala, Kalhara, Durva, Madhuka and Candana in Grismartu 5) Kaliyaka, Tila, Usira, Marpsi, Tagara and Padmaka in Varsartu 6) Tahsa, Gundra, Pundra, Yasti, Kasa, Nata and Aguru in Saradrtu 10 He further explains the benefit derived from such application m the following verse.

cRH WiqR^IH ScRPT

II AH .Su 22-22

te. Those who are habituated to apply the paste of drugs on the face, the vision becomes clean, the face never dull, it becomes soft and brilliant and resembling a lotus flower. Vagbhata m his Astahga Sangraha mentions following recipes

as

Anulepanas m various seasons: i)

One should besmear one's body either unthKunkuma and Aguru alone in Sitartu

One should take bath, wear ornaments, wear garlands and besmear

n)

one's body with Candana and Aguru in Vasantartu

io

i

wciis n

i

WZ

-

II AH Su 22-19to23a

81

hctfjs ii

m) One should wear the bracelets made up offibres of Padma stalk and besmear one's body with Candana in GrJsmartu It is also advised to besmear the body with a paste of Karpura & Candana in this season iv)

One should rub one's body, massage it, take bath, take Dhupa and apply a plaster ofAguru on the body in Varsartu

v) One should wear clean, tight clothes, garlands in the neck and apply the paste of cool Usira on the body in Saradrtu 11 Ydgaratnakara(l8th century text on Ayurveda by an anomymous author) gives 3 formulations as body salves for winter, summer 8s rainy season m the following way: (i) The cream made up of Kuhkuma, Candana and Krsnaguru is good for winter as it has warming effect12 (u) Sandal, camphor and Valaka paste is very fragrant and has very good cooling effect in summer13 (m) Candana,Ghusma & Mrganabhi combination is advised for rainy season which is neither warm nor cool.14 Thus, a good diet & personal hygiene give the desired results m beauty perfections 11 Herbal Cosmetics m Ancient India Kunda B Patkar & P V Bole pp 49&50 12 fp

gift

l

3®T

dftairr || YR 85

13 g^g ggftfti WT 14 g^FT

g

*\

I

rlftaic! I! Ibid 86 i^uiftcf

pgftragiggg I

g gftg g g #g gr ggftit

ii ibid 87

82

Moreover, Susruta m the 46th chapter of Sutrasthana mentions the medicinal properties of several flowers and roots many of which fall m the categoiy of fragrant substances.15 There are many formulations m Ayurvedik texts consistmg of (A) Mukhalepanas(facials) (B)

unguents)

85

Ldmasafanas(depilatones) (C) Anulepanas(body

(D) Kesaprasadhanas(hair applications) The reference

material, for enlisting the formulations, is taken from Susruta Samhita (1st C.A D.), Astangahrdaya(Later half of 5*0 A.D ), Cakradatta (11* C A D ), Bhaisajya Ratnavali{ 12th CAD), Sarngadhara Samhita[14th C A D ) & Bhavaprakasa(l6* C.A D )

(A) Mukhalepah (Facials) Sarngadhara Samhita gives three synonyms as Lipta, Lepa and Lepana

for Mukhalepa and classifies it mto 3 groups. They are : (1) Dosaghna Lepah (ii)Visaha Lepah and (m)Varnya lepah

16

(I) Dosaghna is anti Dosik 1 e curing all types of swellings, boils, bad ulcers etc The thickness of the applicable paste for this is % Angula

(II) Visaha Lepah is anti poisonous which acts against the oedema caused by contact ofpoisionous tree gums like Bhallataka or insect stings etc It is 1/3 Angula in thickness.

15 GSGV • R T Vyas p 25 16

w

^TRift feat

few
fewi 1 11 shs 3-11-1

83

(m) Varnyalepah is cosmetic application over the face to improve colour

and complexion. ItisVz Angula in thickness 17 These Mukhalepas are effective so long as they are wet and once they dry up they will harm the skin 18 Ayurvedlyam Navanitakam, an Ayurvedik text of 200 A D , gives an interesting following guideline as regards to Mukhalepa3#

T

WTd FWT ^ d*IT

'fF’fr

rfMd I II ANI-101

i.e.when a facial is applied, he should neither laugh nor weep, should not sleep or eat, should not be heated through fire & should not keep the facial if it is dried Intoto, Mukhalepa is a facial treatment m which a person's face is cleansed by using creams, m order to improve the quality of the skin of the face. Generally, Mukhalepas are m the form of (i) Mukhakantikaralepa i e. general face salve for improving the complexion of the face, (n) formulations for curing Mukhadusikas{acne),19 (in) for curing 17 ElMHIuiWpf’TSqfg^lsRIg | SHS 3-ll-2a 18

an^rafrt ^sftPT II Ibid 3-ll-2b dMNcbiST supports this idea as under dwldd) *n^RT IpRjj

cTsrr

3IPRI tell

tp

'T ga# I

fftTRdT

3^

iqspr

n

BP2-61-33

II

^HlMdl Ibid 2-61-31

84

Yauvanapidakas(pimples), (iv)l/ya/i(7as(blemishes)20

(darkness)

21 Padmimkantaka

& (v) for curmg

Nihkas

is also a type of acne for which curing

formula is given The various formulations explained m Ayurvedic texts are as under (a) An ointment made of de-husked

Yava powder, Yastimadhu

and Lodhra

taken equally, makes the faces of women glow more than the fineness of gold.22 (b)

Kaleyaka, Utpala, Amaya(Kustha),Dadhisara,Badara,Madhyaphalmi

pounded

together & applied for seven nights, the face will bear the lustre of the moon23 (c) The application of plaster composed of Vaca, Siddhartha

Lodhra, Saindhava

is recommended in case ofpimples , even they can be

prescribed as Emetics24

ftrR timers I

20

304FM tef

and

WflT TO j

21 <£W|I)cj JUT te

I

2# oq^ dte&T II BP 2-61-37 ?IT

fop I Ibid 2-61-38

ter 30

n cd 55-52

23

I foH ter *T 43d 9lftl5PT tIHte II Ibid 55-51& BR 60-45

24 tateratetete

stew 1

4440^ Pterrg tefiT teterwr 11 ibid 55-43

WT gives following idea in this regard

ter toter fateter teri tei^r teltertrs tenters 11 su ci 20-37

85

(d) The application of plaster composed of Kustumburu, Vaca, Lodhra and Kustha together is recommended for pimples.25 (e) In the problem ofPadmmi Kantaka the remedy is A decoction ofNimba should be given as an emetic and the patient should be made to drink a potion of clarified butter cooked with a decoction ofNimba and mixed with honey ; further a decoction of Nimba and Aragvadha should be applied for affected area26 (f) A paste of Lodhra,Vaca and Dhanyaka, ifapplied, removes the pimples Another combination is Marica & Gorocana which is equally efficacious27 (g) By the application of Rodhra, Kustumburu and Vaca, the pimples & marks on the face would be cured Similar effect can be obtained if the plaster ofVata leaves & Narikela coir is applied. 28 (h) Any one of the following can cure black -spots, marks, specks etc (I) Kola seeds & Guda pounded in blood ofSasa and honey. (II) Kustha which has been soaked inMatulunga juice pounded withMadhu (III) Musali roots pounded in goat's milk & honey

25

rUFFT fow I SU Ci 20-38a

26

I rfor fog fow^forscjwcfit

srciq^foii

ifor II Ibid 20-38b 8s 39

vide also m dfWd : fo^EoFT cPH qffoffo'JZHfc

I fofo^efiejicT flfoi

Tfofo fffo ifadS I 27

Jpgrfo foff II CD 55-21&22

I

c|
II

II Ibid 55-42

II AH US 32-3

86

(iv)

Gorasthi and Musali root pounded with clarified butter & honey 29

(1) Pound together Yava,Sarjarasa,Rddhra,Usira,Madana,Madhu,Ghrta and Guda,

The bulk should be cooked well in cow's urme.When this applied, the blackishness etc. disappear The face would like lotus flower petals 30 if One should besmear one's face with the paste of Jatiphala,this removes tan & black spots from the face Applying Katutaila to the face in the evenings also makes the face beautiful31 (k)

A paste prepared from Pannatadadhi i e sour curds, Sarapunkha.Dala, Kuvalaya, Kustha, Candana

Usira gives complexion to the face & cures

&

moles and specks(small stain on the face)32 (l) Roots of Matutunga, Sarpi (clarified butter), Sila and Gosakrtrasa (fluid

coming out from cow-dung) are to be mixed & such a paste gives lustre to the face & cures face marks 33

29*1338 ciJl^atwi srcn^tsaSf^rcis I fS dT fair dT sptwit

II 1 II AH US 32-20&21

30 ddig d^far

rKd qg I

gn c^tfcT

d^d^ II Ibid 32-25&26 Mcd|iRdi9Fr§ I

31

32

:%\

g^cbHdcblSRlchld 33

Rm

II Ibid 55-54 dt9Tfdt *d§l

gycblR|ob(l #T8 fediT fd^diWRld; II Ibid 55-48

87

(m) A plaster composed of Raktacandana, Manjistha, Kustha, Lodhra, Priyangu,

tender buds ofVata and Masura (a type of nee) removes black spots from the face & skin becomes beautiful34 (n) Bark ofArjuna or Manjistha or ashes of hoofs of a white horse mixed

with honey or butter, forms a good paste for dark patches 35 (o) Milky latex ofArka along with two types ofHaridra is rubbed and applied

to the face, which is effective in removing old black patches 36 (p) Ripened leaves ofVata, Malati, Raktacandana, Kustha, Kahyaka and Lodhra

made into paste removes pimples & patches on the face 37 (q) Laksa,Rddhra,Haridra & Daruharidra,Sila,Alam(Orpiment) Kustha,Naga,Gamka, Varnaka, Manjistha, Ugra, Saurastra-udbhava, Patahga, Rdcana.Ahjana.bark of Hema, tender leaves of Vata, Kahya, Padma.Padmaka, Raktacandana and Svetacandana,Parada and the drugs ofKakoliyadi Gana(i.e kakoli, Ksfrakakoli, Jivaka,Rsabhaka,Mudgaparm, Masaparni, Chmnaruha, Karkatasrngi, Tugaksirt, Padmaka,Prapaundarika,Rddhi, Vrddhi, Mrdvika, Jivanti, Madhuka) should be

pasted together with milk. The paste thus prepared as well as Meda 34 'cldlSjP

ajpi gycblRwg |I SHS 3-11-9

35

cn Mlto I 1 ^Mc|T

|| Ibid 3-11-12

36 3^R$feFK|i gycbirof

37

q#

qjugcftifDi

ixTCc&l^cj

|| ibid 3-ll-13b&14a II

II Ibid 3-1 l-14b&15

88

(lard) Maya (marrow), Sikthaka (wax), clarified butter, milk & the decoction of the drugs of Ksiravarga - Nyagrodha, Udumbara, Asvattha,Plaksa - should be cooked together This medicated clarified butter is the best of all the unguents that may be applied to the face. It cures the most difficult cases ofVyanga andNihka and removes all tans, specks, marks,moles, eruptions etc from the face It gives smothness to the wrinkled skin, gives healthy plumpness and bloom to the cheeks and makes the face as beautiful as a lotus It should be recommended to kings and to the ladies of royal court as well as to persons of same rank It acts as a good remedy for Kustha and may be as well applied in cases of Vaipadika(a skin disease) 38 (r)One Pala of each of the following Kunkuma, Usira, Kahyaka, Laksa.Yasti, Candana, Nyagrodha sprouts, Padmaka, Padma, NiIotpala.Mahjistha and cook in one Adhaka water till one fourth part remains,then add one Karsa powder of the following drugs to it Laksa, Patanga, Mahjistha,

i fRt

38

fs sm % ^RT WI3JFT S i]

S

qjugq-jf

w

WF2FT1

§%ct wss mss

^

sftrfwer wit n sswz #^it rrgwri

cbicbi^ife

M
wr?Prt Cf

TEdWfff

sm ^flcFT

I

gift

di^dd

ms

HdFR II

s\ ^fT

sfc

II SS Ci 25-38to42

89

Yastimadhu and Kunkuma Then take one Kudava oil and two Kudava of goat's

milk and cook the whole thing properly If this oil is used as "errline"and also applied locally, it would cure darkness,premature wrinkles, black spots, marks, specks etc & would make the facial complexion beautiful39 (s) Mahjistha, Sabarodbhava, Tuvarika, Laksa, Haridra, Daruhandra, Nepali, Haritala, Kunkuma, Agada, Gorocana, Gamka, Vata, two types of Candana,Ka/iyaka, Parada, Patahga, Kanakatvak, Kamala, seeds ofKamala, Siktha.Tuttha, Padmakadigana trees, Vasa, Ajya, Majja and milky latex obtained from Ksiravrksa, all these cooked on fire This medicated Ghrta is applied to

the face, black spots, darkness etc would disappear & face would glean like moon 40 (t) Sarjarasa, Kanakagatrika, Dhanyaka, Taila, Ghrta and Samdhava are to be mixed in wax, such medicated wax is to be applied to the lips which stops cracks of lips & wounds 41 The details on Facials explained in Ayurvedik texts can be concluded by mentioning the benefits derived from such applications as mentioned m Ayurvedlyam Navanitakam 11

39

gfafiRSeft 1 Mchrtl4Wle|$ftq cFT

virararij

I

craw fser ^ n efcftRfoicb^ebii I sfw ddwww n ah us 32-27to30

mm

40

m

qi«j|4
cfi(#4cb

I ^i^ftdraf|H44i

ms

uraf

few gw to# crifhi fog ffe

fog foWOT^fo

c&lfe II

cjeflr

4?rara

TitfFrcT cm

1 ^ sfor II Ibid 32-31& 32

II CD 56-8

90

forest ii

?TFqf% isfr ^m^TRT ii an 1-103

i e facials are cure for night blindness, myopia, head-ache or headbum,eye diseases with inflammation due to bile & other disorders inherent in the skin of the face (B) Lomasatanam (Depilatories) Unwanted body hairs are obstacles for beauty. So,inorder to remove these undesired hairs now many hair removmg creams are available m the market The ancient texts too have given due importance to remove these hairs.The formulations are as under. 1) Two parts of conch-shell powder, one part ofHantata,pasted uMhSukta ( acid gruel) and when applied to the desired part, it acts as a hear remover42 2) Oil ofBhallataka mixed with the milk ofSnuhi should be carefully taken and applied as hair remover 43 3) Long stems ofKadah are to be burnt and that ash along with ashes of Haritala, Lavana, seeds of Sami pasted with cold water & then be used as depilatory 44 4) A plaster made up from the ashes of the tail of Agaragodhika (domestic lizard), Rambha, Ala and the seeds of Ingudi burnt together,made into

Wfl tl sRdMW m felPt

42

43

^HIdcbWI?T M'qter

44

'RlPtcW I li SS Ci 1-105

ertfa ^ 1 ^TIcHgiTtPI II Ibid 1-106 Wt flefnr spftl

#31

3T fl*RTRR*irahT II Ibid 1-107

91

a paste with oil and water and baked in the Sun, can be used as depilatory 45 (C) Anulepanas (Body applications) Susruta says that Anulepana for body is to give complexion to the body, giving strength for limbs, for love, for removing the bad odour due to perspiration etc To quote .

'3FpfcFPT II SSCi 24-63

The recipes for various Anulepanas m the form of Complexion Promoters, Bath powders, Body salves, Body deodorants, Armpit deodorants, Cure for Mole etc are listed as under * 1) An unguent prepared from Laksa, Manohva, Mahjistha, Haritala and two types of Nisa which have been pounded in Ghrta and honey when applied to the body would improve the skinAnother unguent comprising of Kahyaka, Lata, Amra, Hema, Kala,Rasottama (mercury) and Gomaya Rasa (cow-dung water)would make complexion of body radiant46 2) Haritaki powder, leaves of Arista, bark of Cuta, stems & flowers of FH

I II SU Ci 1-108

WT II cbltfl4
92

Dadima and leaves of Madayantika are made into paste and application of such Angaraga imparts royal effulgence to the body 47 3)

Rubbing the body well with the powder ofSirisa, Lamajjaka, Hema.Lodhra cures morbidity of skm The salve ofPatra, Ambu, Lodhra.Abhaya and Candana removes bad odour 48

4)

Juice of leaves of Vasaka mixed withSankhacurna and juice of leaves of Bilva , either of the two removes the offensive body odour 49

5)

Powder of Tambulapatra, Kustha & Siva made into a paste with water and applied removes bad odour 50

6)

Flour of Kuhttha, Kustha, Mamsi, powdered sandal, Canaka flour and Tvak are all powdered nicely and used as dusting powder which helps for the removal of bad odour due to perspiration 51

7)

One's body should be besmeared with burnt Haridra pounded in juice

47

^cReTcT

I

qw t* qtiMcmRtomig #trsp#

n ss ci 25-43 snrfg 1

48

|| CD 36-34 49 cfTTO#

*pp|

few# 3T5# 50

MN'M'WTOHS II Ibid 36-35

^

fgRicrrwri II SHS 3-ll-17b&18a

51

41# *FFR Rg ||

Rq#5RlcFfRIr[ II Ibid 3-11-18b 8s 19

93

of the leaves ofCihca which removes the offensive smell of the armpits & body.52 (D) Kesaprasadhanam (Hair Applications) The beauty problems related with hair are Palitam53 (greying), Indralupta54 (baldness),Daruna55 (hard&tough hair) etc Ayurvediyam Navanitakam offers some valuable information on root-cause of grey hair 85 baldness. It states :

W || an 1-113

i.e due to the defects created by undigested food, sensuous indulgence, the impurities in bile & blood give use to untimely grey hears It is natural m old age 52 Rodldd^dTdHf^d qRilR'Mlfdd vjiqlrl | II CD 36-38 53 Wffiq gives following reason for graying of hair

d^tadfdg TlttfW

I

frdod felTd qrrfcT qfad cFT ^TFIrT II BP 2-61-1 further it is stated d fM digs 9l(l()bH|U| fttfr ddfcT I

q$S tfffocfr

|f7Wtft

ifrT elrHI^ui dldfikll^JT ?^TT d c^t^rTi, d qcf %9THT = falW §*Fvffl\ Vide BP Vol 2 p 584

cBTtfrr I qd ddtsft dtdTg M^ldPI Iddg I

fppgmgq ftd dRd d? gRRq 1 srsnddfrr fp#r ddg ddtsRtllH^Pddg I

d^ilftidg 11

73TfodT di&fo d ftdTd^ld; II BP 2-61-6,7

55 37WT may be defined as

drw d^p

feigftg s-mpR 1 dd II BP 2-61-15 (51W = dP&TTg)

94

It further states that the problem of baldness & grey-hair is rare among women because :

fwu I II AN 1-115

i e the ground of hair growth (i e skull) in women has profuse supply of pure blood (due to discharge of menses) & has equitable warmth caused by the bilefas they are naturally prone to greater phlegm), they are free fron greying & falling of hair 56 Whereas m case of men it is just opposite The same text says

te II AN 1-116

i e the bile in their blood prone to be defective which causes the falling of hair, making the head bald & grey Generally, the formulations for hair care can be identified m the form of Hair promoters, Preventers of falling hair, Hair dyes, Cure for alopecia, Cure for dandruff etc. They are listed as under 1) A composition ofKasisa (sulphate of iron) and tender leaves ofNaktamala pasted with the expressed juice ofKapittha would lead to the appearance of the hair in that region 57 56 GSGV R T Vyas p 35

57cm#T HeWHMW

WtcTl SS Ci1-103

95

2) A Lepa ofMadhuka, Indivara, Murva, Tila and Bhrnga pounded in Ajya and

Goksira on being applied would make the hair grow dense,strong rooted, long and healthy in a short period 58 3) Kapalarahjaka Lepa can be prepared from Triphala powder mixed with Loha

(iron powder) should be kept in a partly npe Narikela along with the juice ofBhrngaraja This Narikela should be buried in the ground for a month After a month, the inner part of Narikela should be scraped & made into a fine paste, then the patient's head should be shaven off & this medicated paste should be applied Head should be covered& tied with Kadah leaf on seventh day the leaf should be removed and head washed in Triphala water Patient's diet should mainly comprise ofKsira andMamsarasa (juice of meat) By this patient's hair would became black 59 4) A mixture consisting of Triphala, Lohacurna, Nih & Bhrngi, after soaking

this in goat's urine for a day & then to be applied to the head 60

h cd 55-103 59

1

fUi?)cb
#¥ 3lRl3>| Tfftl

TS Wt% I ?JcFT II SHS 3-11-30

96

5)

One who applies the oil of Indravarumka seeds everyday, his grey hair gradually become black 61

6) Kasmari root, Sahacara flowers, Ketaki root, Lohacurna,onePala (in quantity)

ofTriphala and one Pala of Bhrnga are to be boiled in oil

&

should be kept

in an iron vessel buried in the ground for a month, such an oil on application makes the grey hair like Kasa flower would become as black as bee 62 7)

Mamsi, Kustha, Krsnatila, Sariva and Nilotpala pounded in Ksaudra and Ksira on being applied would make the hair grow well63

8) Iron dust, Bhrnga juice,Triphala.Krsnamrttika (black soil) kept in Iksu juice

for a month when applied to the premature grey hair, dyes them black from the root64 9)

Yavagu prepared from Masa, Kodra and Dhanya should be kept m an iron

vessel for three days and should be made more sour by adding Sukta This paste on application would even make crane's feather black 65 61 $'flc||$ftl|ebi<^vji rPT

cRdl*«^*im1d I

r

ii shs

62 c&TWlf

3-11- 26 ijyf |

*fl¥

II f&taPifed

1

tens cgtsiwstt to JifqtoT sift tostor 11 bp 2-61-4 63

fcffirg ^TOJIS tolT sifts

I

W


64 toto

1 mRcI

65 Hitos^ntois

<,^d II Ibid 24 - 42b & 43a

srapjj^Htfadr 1

to ddldito To^PT II Ibid 24-43b & 44a

97

10) Prapaundarika, Madhuka, Pippah, Candana, Utpala and Dhatri juice have

to be mixed in oil & boiled , if used as an errline and also applied locally would cure the hair & scalp diseases & would also dye the premature grey hair 66 1 l)Yastimadhu, Dhatri fruits and Ksira are put in oil & boiled, when used

as Nasya (nasal drops) would induce the growth of hair on head, beard & mustaches.67 12) Seeds ofNimba are to be macerated with the juice of Bhrngaraja and

decoction of wood ofAsana tree and this is put into Taila and cooked well This oil,used as nasal drops,is effective in premature greying of hairs of men who adhere to nee & milk only as diet68 13) Pound three of Dhatri fruits, two Pathya fruits, one of Bibhitaka fruit and

five Amra seeds along with one Karsa (in quantity)of Loha (iron) in a Loha vessel & keep over night, this application changes the grey hair

into black 69 66

I

fa®

*r

\

qfadlfa ?

irafa 67

II AH US 24-44b & 45 I

5ST

fonoqf»P|pT

68WtfsP3#?#r cfSTRFM cfftH

II CD 55-111

ft I dffaf

m°o gW

II ^STIsTHfpHIH II SHS 2-9-154 8s 155a

69

f¥fac{?T I

^ taT

S^facTI

wii^d faf$r ii ?f% 'lRui^chKr|HR;1d W I Ibid 3-11 -28b & 29 8s 30a

98

14)

Triphala, Lohacurna, Dadimatvak and Bisa

each five Palas, juice ofBhrngaraja

svc Prasthas (in quantity) are to be kept in an iron vessel

8s

buried

underground for one month, later it is taken out & mixed with goat's milk 8s to be applied to the hairs at nights

8s

covered with leaves of

Next day morning it is to be washed off The hair will turn

Eranda

black without doubt within three such applications 70 15) In case of alopecia the plasters offollowing substances are advised a)

Kasisa, Manohva, Tuttha

b)

Vanya 8s Amrataru

c)

Gunja

d)

Langulika root

(copper sulphate)

8s Usana

or

root 8s seeds or

e) Juice of

8s juice ofKaravira or honey or

Ksudra Vatarka 8s

f) Leaves ofDhattura 8s juice of Bhallataka or g) Maksika, Mavis, Tilapuspa 8s Tnkantaka

70 ferIT

*r Slffelffe cTSTT I qo^qfacb Tjof

fen fe#

|

fenfei fern II

nRPfo rfcTo

fir# #f wields d?rs fqfdHH # qfadW f#RT$r

felfef

^3=fTE# II WT8l

SHS 3-ll-31b to 35a

99

or

Burnt ivory mixed in the oil of any one of the above paste would cure alopecia If grey hair start growing on the patch, burnt ashes of the horns of ram should be applied , hair bath should be avoided while treatment is going on 71 16) Any one of the paste of Bhallataka, Brhati fruit or Guhja root and fruit

along with honey is to be applied to the patches due to alopecia for curing it72 17) Karahjataila for Indralupta The oil prepared from Karahja, Citraka, Jati &

Karavira can cure alopecia 73 18) On applying the juice of the leaves ofTiktapatola for three days cures

baldness 74 71

cmssm

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fan ^rr Stefan i

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mn m i cfi II

mm

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100

= f^ff)

19) Yasti, Indivara, Mrdvika, Taila, Ajya & Ksira all made in to a paste &

applied, will remove Indralupta and helps to grow thick hair75 20) Milky latex ofSnuhi and Arka.Langah, Markava, Visa, Paktikajndravaruni, Siddharthaka, Tiksnagandha should be pasted in Ajamutra and Gomutra

and the whole thing should be boiled in oil This is a remedy for baldness 76 21) Plaster of Priyalabija, Madhuka, Kustha, Masa, andSaindhava pounded

in Madhu cures dandruff77 22) One part ofAmra seed with one partPathya both pounded in milk This

cures dandruff78 Even the Khakhasa seeds pounded in milk can yield similar effect79 23) Bhrngaraja Taila Taila prepared with juice of Bhrngaraja, Lohakitta (iron

dust) and Kalka ofTriphala and Sariva can cure Daruna (dandruff), Akalapalita (premature greying), Kandu (itching) and Indralupta (alopecia) 80 75

l feTTS gg

76

^STg II SS 3-ll-24b&25a

*ncfcfr f^nri

ffcr rfr fadHi^ifadMiftoppr

77 cRPif

ii bp

2-61-13 & 14

^ aM irg^81 || Ibid 2-61-16

78 Slljnftd

cWT

gd HIHNdl WT I WT

79

WW II Ibid 2-61-17 ^r[| Ibid2-61-17b

4wiBlcbH | pifcn w

siwrom 11 +u$j*l’StoJH ^ dT9T*td

II SHS 2-9-161b&162

101

Thus, there are various combinations explained m Ayurvedik texts For successfully administrating the hair promoters & dyes, the following guideline is also advised m Ayurvediyam Navamtakam .

d?tT WFRTH cf^TFIT ^FIT ^IWfi 1

WI II AN 1-119, 120

e the head should be cleansed through purges of various types, then

the blood should be rendered healthy by taking citrous, sweet & nutritive food Then only the remedies like medicated oils & hair dyes etc can be administered Daily wash is also good for hair as it removes many defects Then one has to resort to different blends of oils which are advised for the growth & health of hair 2.2 Rasasastra or Alchemy texts At the turn of medieval penod(i e.8thtolOthC A D ), a most fascinating development took place m the field of Ayurveda. Mineral substances were mtroduced profusely m to Ayurvedik pharmacopia On account of this effect, compounding medicines from mineral substances were developed. Accordingly, a new branch called Rasasastra was mtroduced which almost attained the status of a seperate medical system.

102

The main purpose of Rasasastra is to transform base lower metals mto noble higher metals and to strengthen the body tissues m order to maintain them m a fresh and healthy state so as to remove senility, diseases and death from the world Thus, Rasasastra was developed to achie Lohavedha(transformation of metals) and Dehavedha (transformation of body for the prevention of aging and diseases and maintenance of positive health)

81

The word Rasa in alchemical literature means mercury 82 Mercurial preparations are supposed to give long life, youthful vigour, high mental power and even the rare faculty of movmg invisibly in space which is known as Khecaragamana Therefore, Mercury became the central part of Indian alchemical thought.83 Rasasastra stressed more on Rasayana concept of Ayuraveda The Rasayana concept advises the ways & means by which one can achieve

81

•• I twragira 1-77 narrates following benefits of

Vide SirgifcfcT TWRof

:

Dr Siddhmandan Mishra p 16

82 A Concise History of Science in India Sen,Bose 8s B V Subrayappa p 313 The following definition is found m tWRPpra- : UHid

I TWcT =IT

Wo II 1-76

83 A Concise History of Science m India

103

Sen,Bose& B V Subrayappa p 313

the best quality of Rasadidhatus which inturn provide positive health to the body and prevent diseases and aging Thus,it sustains our body always m healthy and youthful state 84 In this way, the Rasasastra texts are related to Cosmetics 8s Perfumery The literature on Rasasastra is volummous Some scholars are of the opinion that the texts on Rasasastra have more or less the same form & tone.85 Even the Tantrik elements are also found m these texts. Some of the important Rasasastra texts are Rasahrdaya ofGovtnda Bhagavata, Rasaratnakara by Siddha Nagarjuna, Rasendra Cudamam of Somadeva, Rasaratnasamuccaya by Vagbhata, Rasaratnakara by Nityanatha Siddha etc "

Most of these texts belong possibally to a period between the 9th and

18th centuries A D " says Dr B V Subbarayappa 86 He also observes that the period between 10th and 14th centuries being perhaps the flourishing one 87 While explaining the aspects of Rasayana these texts give information on Cosmetics and perfumery products Tantrasastra, a specialised branch of study on mystical powers, did not confine itself to the field of religious practices only, but even entered into the field of Rasasastra (Alchemy), Yogasastra, Lohavidya (Metallurgy) etc. Among them Rasasastra was the foremost 8s drew a large number of learned men mto its fold." Its vast literature still retains the features ofTantnsm" says Prof K.R Srikantaswamy 88 Thus, there arose a mutual dependence of Rasasastra and Tantrasastra 84 Ayurmedlme p 32. 85 A Concise History of Science in India Sen,Bose & B V Subrayappa p 314 86 Ibid p 314 87 Ibid p 314 88 Ibid p 314 104

Accordingly, Nityanatha Siddha{l3tb CAD ),89a noted scholar on both the fields, has written the texts related to Rasasastra and Tantrasastra They are - Rasaratnakara and Kamaratnatantram 90 These two texts throw ample information on Cosmetics & Perfumery The former deals with manufacturing of some of the cosmetic 8s perfumery products where as the later deals with the applicational formulations (a) Rasaratnakara The text Rasaratnakara is divided in to five sections known as Khandas 91 They are 1)

Rasakhanda which relates to physicians

2) Rasendrakhanda which is related to cure the patients 3) Vadikhanda which is also known as Rddhikhanda deals with the ways of earning material prosperity 4) Rasayanakhanda which discusses anti ageing process 5) Mantrakhanda related to Mantrasastra 92 The ideas on Cosmetics and Perfumery are dealt m Vadikhanda or Rddhikhanda section. This section is divided into twenty chapters known as Upadesas As stated m mtroduction, Nityanatha Siddha observes the lucrative nature of Gems 85 Cosmetics m the following verse 89 SICH-Vol I P K Gode p 89 90 i)W<TS itSd f%R#T

u) Vide 45IWT 91

92

> tPT

m 1W1T

I

Vide RSR p X

Wt

p3

I RSR p 1-4-6

§ %TRT

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mk

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fcr^n^Fi% §pr m to im cM#fe uprawr wtow II 'RSR.-Rddhikhanda( Vadikhanda) 19-1 The cosmetic and perfumery topics explained m Rasaratnakara are (1) Candanakaranam (preparation of sandal), (u) Karpurakaranam (manufacture of camphor), (m) Kasturikaranam (preparation of musk) & (iv) Kunkumakaranam (preparation of Kunkuma) (v) Divyadhupah (vi) Puspadruti (Essence of aromatic plants) (1) Candanakaranam It is interesting to note that the text Rasaratnakara m the first instance proceeds to explain the preparation of sandal from neem The proceedure is as under Nimba tree has to be cut by leaving its root inside the earth up to an

arm’s length , on its top, a hole should be made & filled with fresh Guggulu Placing a wooden lid of the same tree, the joints are to be luted

with clay mixed with salt When dried it should be baked with fire in Gajaputa 93 Let it be naturally cool The roots become sandal94 93

is an under ground cavity of square in nature measuring a IRWfMM (generally 2x 2x2 in length, breadth 86 depth) Then cow dung cakes are placed at the base & ignited, thus the substance receives heat from all sides Cakes are burnt m to ash & substance gets cooled on itself The structure of a tRfjjS is given m the Appendix-picture No 1 (vide Rasashastra

94 tnkr ftssnfsi

5

cRtf

Dr Vilas Bole 8& Dr P Paranjape p 61) I vwjnjgi* ||

cfTO felW

I i!

winter w

^ n rsr 19- 89, 90&91

106

(n) Karpurakaranam Then the narration of the preparation of camphor is given as under Take three Pala quantity of Rajanna (nee) and boil it, when it gets cooled add milk & one Niska measure of camphor and grind it , this paste has to be filled in dried bamboo pipe & let it dry in shadow Add Svarasa ofKadah flowers to this bamboo pipe After closing its mouth with a piece of cloth, keep it in Sunshine for three days & then to be kept in cavity of earth for three weeks Take out from cavity then has to be dried. Then the substance is to be taken out from bamboo, this becomes a very good camphor.95 (in) Kastunkaranam Then the text proceeds to narrate the manufacturing technique of artificial musk The text says The seeds of half nped jack fruit are to be made into pieces , then to be kept in new vessel and add one Pala ofSunthi powder When it becomes liquid, add 4 Niska quantity of Candana, boil it in mild fire till it becomes

95 Wm ^ W ^ilMIskt^lcl^ W

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19-92 to 96 107

n

11 II

i

reddish After cooling, store in glass vessel & keep Campaka.Ketaki.Malh & Jati flowers on that & its face to be tied with clean cloth for a day, next day leave those flowers & add musk at the ratio of one Pala, one Pala pure camphor & 20 times Javadi Again it has to be covered with Malltka flowers for three days Thus, the Javadi becomes Kasturi in fragrance & colour 96 Another method of preparing the artificial musk is also explained m the text.97 96 ddflW#RldRl

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II RSR 19-97 to 103

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108

w

f*Td#r 1

(iv)

Kunkumakaranam Three different methods of preparation of Kunkuma (Kunkuma Karana)

occupies next place m Rasaratnakara They are as under Method -1 Hard shell of coconut or Nimba bark or any Subhra (clean) bark made in to powder & mixed with water, add 1/4 part Rajanif Handra) or 1/8 Gamka; it becomes a very good Kunkuma 98 Method - 2 Behold the Kvatha ofPalasa flowers in Kharpara ; add 20 times of grind fresh nee, add lime 1/2 of the nee, mix it properly, allow it in heat till it becomes solid; then make the pills, they are equal to Kunkuma 99 Method 3 Take Palasapuspa & best nee in 1/4 proportion, grind it well, roll the pills & let them dry. They resemble the Kunkuma 100 98

cfi ^5 cTT

I

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'JRRT II RSR Rddhikhanda (Vadtkhanda) 19-115,116 g

^

I ||

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II Ibid 19-117 to 118

100 wreyarqrcrsT wj>p n tenai dfepIS

ii i

wtst

^ rjprsf 99

w

?p^pt

i

STpsqTg PJg fScpdfadlg II Ibid 19-19

109

(v)

Divyadhupah The text further proceeds to explain the preparation of Divya Dhupa

i.e incense sticks from various ingredients. The two process are as under Divya Dhupa - 1 Take one part musk, 2 part camphor 8s 3 part Kunkuma, 4 part Nakha, 5 port Mamsi, 6 part Sarjarasa, 7 part Musta, 8 part Krsnaguru, 9 part Sita 8s 10 part Candana These are to be mixed 8s made into powder, then mixed with equal quantity of Guggulu 8s again mix it, while powdering it with the help of hammer on the stone add the oil slowly The powdering process may take one day, after this prepare sticks from that powder Light the stick 8s put out the flame, this is a very good Dhupa 8s helpful in Mantrasadhana 101 Divya Dhupa - 2 Take equal quantity of Lohacurna, Guggulu,Mamsi,Musta,Nakha,Bola, Candana,Aguru,Valaka,Laksa,Guda,Sarjarasa,Sita 8s Karpura are to be mixed 8s powdered by taking two Niskas at a time along with one Mass of Kasturi 8s Kunkuma While powdering it on the stone, add Tilataila for it The powdering process must be undertaken for one Yama (about 3 hours), then to be made in to sties This is aDivyadhupa as it gives all auspiciousness 101

I wii WS fS?TT

to I!

itofo srato tofir cfa cw&r crjfsjM

to4

ii

to n RSR-Rddhikhanda (Vadikhanda) 19-120 to 123

110

& leads for all mystical chantings 102 The author says that this formula is given by god Siva himself The religious importance of mcenses can also be noticed m above explanations (vi) Puspadruti The preparation of Puspadruti i e essence of some aromatic plants is explained m verses 128 to 131 which is to be used m the Perfumery Industry The process is as under A piece of cloth is to be dipped in Milky latex ofSnuhi( Vajri) for seven days Then take one Pala of Jati flowers & add one Niska of powdered TahkanaSsthen 3 Niska of honey is to be added & mixed well Then it has to be stored either in clay-vessel or glass-vessel Close its mouth with the help of earlier processed cloth When water is sprinkled the flowers pour their fragrance & give perfumed water This is a common method for all types of flowers This perfume can be used for making various formulations for application.103 102§ jnjg wwwi #

qrar gs wm

3?cn to ifrr

I trier

filter feaJr

ii

fp I ^el^ellebO

n I

q4*b3\*MNcb8 11 RSR Rddhikhanda (Vadikhanda) 19-124 to 127 103 crMH ^citT

cf# ps g^g 1 3T1R#

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II Ibid 19-128 to 131

111

The above recipes of cosmetic & aromatic preparations described m detail may not be imaginary." The experts in Rasavidya in medieval times known as Siddhas did posses a super natural bent of mind In spite of this bent they were deeply interested in experiments of all kinds in their search for Gold The Cosmetics described in the recipes of Nityanatha Siddha are real & not miraculous though we might notice in these discnptions a tendency to attach miraculous properties to actual preparations, which gave comfort to the users of these Cosmetics on account their aromatic ingredients" says P K Gode 104 He further says “ . . the reapes ofRasaratnakara really have a distinct place in the history of Gandhasastra ”105 Thus, Rasaratnakara occupies an important place m the history of Cosmetics 85 Perfumes. Nityanatha Siddha justifies this with the following statement'TfelRd

qltpRcl d

I

f^RRT^R ftfe II RSR Rddhikhanda p x

(b) Kamaratna Tantram Kamaratna Tantram is a unique text on Tantrasastra written by Nityanatha Siddha The text is divided into sixteen chapters termed as Upadesas The

text

deals

with

Mantras (Mystic

chantmgs),

/ar)tras(Ritualistic diagrams)& Ousadhts(Medicinal Herbs) to be used for various purposes

104 SICH-Vol I

P K Gode p 89

105 Ibid p 93

112

As to the cosmetic and perfumery concepts are concerned, special attention is given m 5th and 7th Upadesas (chapters) Nityanatha Siddha at the outset clarifies that Angaragas 1 e the cosmetic applications are for sexual pleasure, wherem, the physical contact is inevitable. He says SHIFTS 3^1« cMR?

TF$lfcT£JHHI
II KR 5-19

This text gives many recipes of cosmetic and perfumery products under the following heads (a) Deharanjanam (Body applications) (b) Kesaranjanam (Hair applications) (c) Snanartha Sugandhidravyam (Perfumed waters for bathing). (d) Indralupta Nivaranamf Cure for baldness) (e) Yukaliksadi Nivaranam (Solutions for hair problems) (f) Lomasatanam (Depilatories/ Hair removers) (g) Mukharahjanam (Facials) (h) Dhupas (Incenses) The formulations are (a) Deharanjanam (Body applications) l)On annointing the body before bathing with the paste of nnd of Pathya, Amatakifruit, Ajas, juice ofJimOta along with Kustha & Jatamamsi makes the body fragrant and lustrous 106 106

^dRPFTFTFT KR 5-97

113

2) 77/a, Sarsapa,

two types of Haridra, Durva, Gordcana and Kustha are to

be pounded in goat's urine and butter milk and rubbed to the body which creates uncomparable beauty 107 3) Madanaprakasa

Toyada,

is an unguent made up of one part ofHantaki and

port of Vaneruha and 1/8 of Nakha , the application of

which excites love108 4) Naramohana

is another combination prepared from Eta, Sati, Patraka,

Candana, Toya, Abhaya, Sigru, Ghana,& Kustha which is fragrant and

worth to be consumed by kings 109 Equal parts ofDhattura, Kasmira, Ghana, Ambu, Loha, Nisakara and Usira

5)

are to be pounded, finally a salve is ready to please humans and gods 110 6)

When Usira, Krsnaguru, Candana,Patra and Ambu are equally pounded and applied to the limbs of amorous women, emit the fragrance of

Srikhanda 111

107

3M^d*ft$8

^tcrfrT II KR 5-27

108

gfifclFTS d^TPTS ##

mm

I || Ibid 5-28

109 3 TR# wVdHsqg || Ibid 5-29

ifrg

111

II Ibid 5-30

¥HlPltal I tpfa

II Ibid 5-31

114

7) The bad smell of beautiful women can be removed by applying a Lepa of

Hantaki, Lodhra, leaves ofArista, Saptacchada and peel of Dadima 112 8) Hantaki, Candana, Musta, Naga, Usira, Lodhra,Kustha andRatri are taken

in equal parts besmeared on bodies of men and women, remove the offensive smell due to excessive perspiration 113 9) A fine paste of Candana, Usira, Karahja leaves, seeds of Kola andAksa,

Aguru & Naga, if applied removes deep rooted bad odour114 10) Bark of Dadima, Lodhra and Padma along with leaves of Ptcumarda

are taken equally and besmeared on the body would cure bad odour due to sweat115 11) The bad smell of armpits can be removed by a deodrant prepared from

Hantaki, Sriphala, Musta, Cihca, Tnphala and seeds of Putikarahja 116

18 cite cpfMs

te II KR 5-20

113

I fcRTSTOT^

II Ibid 5-22

114 y*KHI9il|

tm g

ftrcsrfr

is fqts *wi%

115

n ibid 5-24 PifR^qfis i

116 $0clchl4)cb^wfc)oc(|

c&Snfe

|

503d fcFTRMTSJ PtelWd II Ibid 5-21 115

b) Kesarahjanam(Hair applications) For strengthening the hairs, the solutions are prescribed as under 1) Jati flowers, fruits and roots have to be pounded in black cow's urine and applied for seven nights 117 2) Another formulation for strong hair is from powdered Srngata,Triphala, Bhrngi, Nilotpala & iron powder taken in equal parts cooked in oil

which is four times of the whole bulk 118 3) Tila flowers

along with Goksura and Lavana pounded in Gavyaghrta Ss

then applied for a week the hair become Luxunent119 4)

Roots ofSalmah.Tala &Padma pounded in goat's milk m equal quantities on bemg applied to the shaven head & consumed internally for three days would lead to the best growth of hair120

5) Oil

extracted fromAmra seed, powder of magnet, fruit of Kakatundi

and Krsna have to be mixed well & kept in the pile of Dhanya 117

c^r Wife

^sfele&STO II KR 5-110

118 3012 tejr

I

m far

ggjpr n

dwlfe ^I§femffe?im?IT 119

11 Ibid 5-1118s 112a M^cM ffen 1 feTTS II Ibid 5-116

120

^1 spi§*§ m Brffe

ffe

I

f^rcs n feid^rm ii ibid 5-ii7

116

After 15 days if this oil is applied to the hair and administered as an errhne for 3 days, hair unll become black & if this treatment is continued for six months his hair become as black as bee 121 6) Tnphala, iron powder, Nth & entire Bhrngi plant have to be lavigated

& soaked in goat's urine for a day and then rubbed on the hair, the hair becomes black as bee 122 7) Equal parts of powder of Guhja seeds, Kustha, Ba, and Devadaru are to be given Bhavana in juice of Bhrnga for one day Then this mixture is to be blended with oil, taken in 4 times of entire bulk and cooked in slow fire If this medicated oil is applied for Abhyanga, then his hair will grow thicker & black as bee 123 8) A paste of Lohakitta,Japa flowers, Dhatri fruits all taken in equal parts

applied for three days, grey hair would became black and remain black for two months 124 121

cfrr

ebidqwFi^PidH I tJuJRRcIT

Wm i

sirrt#

dW

Mm

cTSM

WfrWo II

frfScT

cH

II

HP*! WRwHdlBTtPT II KR 5-62 to 64a

Mi

122

M

l

M Ml WHTnW'T II

123

Ibid 5-64b&65

^cfcflWT I ^IT5T

Me ^315^8 II fti qraiRr

l Mdwr II Ibid 5-66,67

124 dWfof ftfcl

Slbta WtE I fedRI

II Ibid 5-70b,71a

117

9) Juice of Nihka should be mixed and stirred for one Prahara along

with the oily paste made of one Prastha Juice ofBhrngaraja and one Prastha oil ofKrsna Tila, application of this paste for 3 days would make hair black.125 10) Sarja, Yavaksara, Nagapuspa are to be mixed mAranalaka (sour gruel) and

applied in the middle ofthe day which would surely make hear black.126 11) Goghrta(ckmfied butter obtained from cow's milk), paste ofBhrngaraja

and MayOrasikha are to be mixed and cooked in slow fire, that would make hair black127 12) Oil taken in equal parts from Kakamaci and Krsnatila seeds would

surely make hair black 128 13) The above mixture along with the juice ofJapa flowers and oneKarsa

honey used as errline for a week would surely make hair black 129 125

I

II dwfa

II KR 5-71b,72

126 Tjufavjfaeranc'

dlHM%S I II Ibid 5-73

m I

127 T iJ|dT RM cT

128 cblcbHIiMMlft

M

dffcr

^RoSRR; II Ibid 5-75

^crrfcRdRrlWg I n ibid 5-74

129 cfiTcOTbM^lft

m

^wJ|^Hdd?» I -tfPTRWld II

W

"s,

f^rs ll Ibid 5-76

118

14) A powder ofTnphaia and Loha should be mvced & cooked in the same

amount of oil (in weight) on slow fire Then juice ofBhrnga should be taken as the oil in weight Then the whole thing should be cooked and be kept in a vessel and buried in ground for a month This medicated oil should be applied to the hair and the hair to be covered & tied with Kadali leaf While this treatment is going on, the patient should reside in a quiet place, where there is no wind or breeze The patient's diet should mainly consist of milk Head should be washed with Triphala water If this treatment is taken for seven consecutive days, hair will become as black as bee and will remain black throughout his life time 130 15) Equal amount of seeds of Mahakala and Vakuci should be powdered

and given Bhavana ofNirgundi juice forfour days It should be then mixed with juice of Japa flower. The whole thing should be put in Patalayantra and expressed oil to be applied to the hair. The hair should be covered and tied with Eranda leaf Then the user should reside in a quiet place devoid of sunshine & wind His diet should mainly consists of milk He should keep Tandulya grains in mouth If this treatment is continued for seven days, hair becomes black 131 130

cnftou

I

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^

i Ml II

cfcTS

ott ii

^ to nmidi^d n

Mlw Rr cfxfer flHlt *5JFT s&Tl 4!c|#} 131

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II few 3 cR^T

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IIKR 5-77to78 I d'J|di-dKd^ I

ibid 5-8i to 84

119

16) Mahogra is to be kept in mud for svc months After six months, it has to be taken out & it turns to black soon One Karsa of this powder is to be applied to the head This is termed as Kapalarahjana which makes the hair as black as bee. Even the fresh ones which grow are black & remain black all through one's life, without any doubt 132 17) Preparation of Nilata/lam The blossom and young fruit of Cuta.Pmdaraka, Pandura or Nihka are to be pasted & boiled in one Prastha of Tilataila If the feather of a goose is dipped in it turns black, then it is confirmed that the reape has been correctly prepared for human beings.If it is applied for three consecutive nights,shell like grey hair of humans would turn black The author endorses that this is a well observed experiment133 18) Satavari, Krsnatila, Gordcana and Kakamukha are to be pasted & applied to the head. The grey hair would turn black quickly.134 132 wm ^ terr wng mj^ri cb%

ter ter n

ters f®ns spite teprates l cWfcKouH rte qpte ^ WTS II KR 5-85 & 86 133 Wptcf pte Sip

3TI

SRSJSPiFT ^

tern

II

wm te

pten ter

wtt

tetetepm I

9i
tiw tenr I

pr * tel% «HHpki % tegs fief sites II Ibid 5-88 to 90 134

filter pm teddl

chl<^Mite

I

iterate ps gteiteR) pmte pnpte ii ibid 5-91

120

19) A

decoction of Muttha,

Sarsapa, Usira

and Haritaki is to be prepared

8s

same quantity ofAmalaka is to be added The roots of hair besmeared with above will make the hair as dark as cloud 135 It is interesting to note that

Nityanatha

prescribes a hair bleach

which converts the black hair into white He calls it Kesasukhkaranam The recipe is as follows * i) Roga(Kustha) and Amalaka powder should be given Bhavana latex of

Vajri

of milky

seven times 8s to be applied by which the hair becomes

white136 n) Abhaya fruits should be given Bhavana of goat's milk for seven days Then this powder is mixed with oil 8s applied to hair, they become white 137 c)

Snanartham Sugandhidravyam(Perfumed

The text

Kamaratnam

waters for bathing) •-

also mentions some fragrant hair washes.

They are 1) In order to get fragrance 8s lustre in the hair, the bathing in scented water made up from the mixtue ofpowder ofSuksmaila.Jimuta, Cuta, Svarna, Mast

and Patraka is admsible138

135 gw W flcfq ffa

steiRw mfa

wI

wm°o

ii

liters i kr 5-938594 136

flflSIT I W)ffFI#FT f^dl qifrr gsfcfTS II Ibid 5-119

137 aMsflfar

mm

gjfclHT FIMI ^

II Ibid 5-95 121

Nakha,

2} Excellent fragrance in the hair for fifteen days can be got from

bathing with paste ofSvarna, Ambuda, Usira, Nakha and Pathya 139 3) The cure for premature greying hair is advised in which the paste

of Madayantika is boiled in sesame oil & applied to the hair This also removes the dirt140 d) Indralupta NivaranamfCure for baldness) Alopecia or baldness can be cured by applying the following 1) Bhallataka, Brhati fruit, Guhja root and fruit & honey.141 2) The powder of Guhja fruits mixed with honey is to be applied to the

head which removes baldness & also promote the black lustrous thick growth of the hair142 3) Kunkuma or Martea taken in equal parts and pounded in oil or if the

juice ofJambira mixed with oil is to be applied They give the result rapidly 143

RFTT TO

fct II KR 5-96

140 *Kffawi8
fester

fyk

TOJIPTI

3Tcf>ra^ra-

II Ibid 5-92

141 *R*i!dcb w ip#

TOT 1

4fiTT W

II Ibid 5-113

142 gyrrats 2# t

143 fgd

I dkr feiikRi fwe fferr £rtmt8 n ibid 5-106

tr4 f^TT rf#T #T#T I i#4T

II Ibid 5-108

122

4) The plaster made up of Bhallataka, Krsnatila and Kantakari fruit taken in equal parts and pounded in nee water and to be applied 144 5) Japa flowers are to be pasted and mixed with black cow's unne and applied 145 The author further explains the method of application He says g

wtd i

2PRT pTRdT ^TrfcT

II KR 5-112

i e In case of bald patch, where the hair roots have been destroyed by germs, should be rubbed with gold till the patch becomes warm (by rubbing) and after the presenbed salves should be applied (e)Yukaliksadi Nivaranam (Solutions for hair problems) The problem of Yuka (lice) & Liksa{nits) m the hair can be solved by following . 1) A paste prepared from Vidanga, Gandha (sulpher)and Utpala along with cow's unne & then boiled in oil and applied to the hair in Abhyanga 146 2) Gomutra and Sariva root are pounded together and to be applied to the hair147

144

cbu-£cfiTfH?1 WT I Msd cf £RT$#cf II KR 5-114

145

d

146

II

Ibid 5-115

cbdrWHdd I ■3WTlfFH f^lfrWMT

147

II Ibid 5-98

’jd dm^cb|p(c|KU|^ I Ibid 5-99a

123

3) Pestle one Niska of mercury in the juice of Krsnadhattura or Nagavalh

juice. Tie the headfof the patient) with the piece of cloth dipped in this mixture and keep it for three Yama i e approximately 9 hours, each and every louse will fall without doubt148 4) The paste ofNilotpala, Ttla, Yasti, Sarsapa, Nagakesara and Dhatri fruits

all in equal parts if applied destroys the lice 149 5) Massage with oil made up from Nisa, Gandhaka, Gomutra, Vidanga and

Parada can kill the lice 150 6) A salve prepared from lac, Bhallataka, Musta, Kustha, Guggulu, Sarsapa,

along with Vidanga can remove lice 151 7) A Lepa ofBilva root pounded in Gomutra kills lice 152 8) Remedy for itching of the scalp is as follows

Haridra and Daruharidra

along with butter is to be massaged on the scalp 153

148 WS

||

4FFR4

3<3
^44 wti mm ddi

ii

4df% fasSta ^W«blsll3l

I

149

KR 5-99btol01a

I

m ftwi M 150

II Ibid 5-102 1 II

151 ^IT *IHIdcfi'

Ibid 5-103

| II Ibid 5-104

152 153 ftfdSTT

^MI^lPHIOTT II Ibid 5-105 ^Ml4^8

II Ibid 5-101

124

(f) Lomasatanam (Depilatories/ Hair removers) There are many recipes mentioned as depilatories/hair removers They are 1) Palasabhasma and Haritalacurna are to be mixed in water of Rambha and then applied to the pubic region, then the hair never grows there154 2) The salve consisting one part ofHaritala, five parts ofJalaja(Sankha)and five parts of burnt ashes ofSavas tree, soaked in water obtained from Kadali plant, and kept m vessel, when applied seven tones on the pubic region of amorous women, would never let the hair grow on that region.155 3) Pulverised Kambu (conch-shell) soaked in the juice of Rambha tree for a week, then mixed with Nala destroys immediately the supetflous hairs 156 4) Talaka(Haratala), powder ofSankha, Mahjistha, and burnt ashes ofKimsuka are taken equally and a Lepa is prepared , on applying of this acts as a good hair remover.157 5) IfTalaka and powder of conch-shell is pestled in salt water and applied to the desired part, hair would fall-off immediately 158 154 qwr^wif^RTcfw^f

ijjbi

c&c#r 155

II kr 7-74

wm 1

5&it sfciRPnns

4FTT§

!i

fhnf^T fartlftHHT 34#¥fcT cbdj{r|d.cj II Ibid 7-75&76 156 WMls Wfrf% cm14^uI|Pi WMl grfi tt*#r s#r 11 ibid 7-77 157 cild4> §is
spf

n Ibid 7-79

125

6) Pound Gandhaka(sulpher) in the juice of the leaves ofPuga tree and apply to the desired spot159 7) If Chucchundart oil is applied for 3 weeks on the part from which the hair has been already removed, hair will never grow again 160 The same result will get if Kusumbha oil is applied seven times 161 8) Dung of a just bom calf of a buffalo if applied to the desired spot at night and tied with Vatari leaf and rinsed with hike warm water in the morning, would remove the hair along with the root162 9) Sankha, Tala, Yava and Guhja pasted in Kahjika (gmel), on application would cause the hair to fall off like ripen leaves falling off the tree Applying Katutaila and Manahsila is also advised for similar result 163 (g) Mukharahjanam (Face Applications) •The Facial applications are summensed under

the head

Mukharahjanam They are 1) Paste two types of Haridra, Mahjistha, Ghrta, Gaurasarsapa and Gamka

159

ten ^ Tftftft I

ift ten

stf tepiftfcwn n

160 hmi

kr 7-so

clefts 1 frraftT n ibid 7-8 i

161$$«$eMHHI SHcfK ddl^l Ibid 7-82 i62*tencM

dleelNI Sifts

nfttarft

tete) STTeftg

netted 1 1

^dcffiteTS II

Ibid 7-83

163 W&3 die! dd 30^ cfilf^cbS teftTCT I etedft tfolfa tensfte?n?d

Wfttelflldl dzteftften 11 ibid 7-86

126

cooked in goat's milk, with this the face shines like lustre of the rising Sun164 2) Vaca, Lodhra, Usira, Sarpi(clanfied butter),Sarjarasa,Paya(milk), the yellow

leaves ofVata and two types ofRajam are to be pounded & applied to the face 8m feet. This salve beautifies like red lotus flower165 3) Pound together Masura, Ghana and Savara as often as possible, apply

this on the face, the pimples and acne which are old and hard will be cured within 15 days 166 4) One has to besmear his body with the thorns ofSalmah pounded in milk

for 8 days, then, in three days the pimples would disappear167 5) Equal parts of Dhanya, Vaca, Savara are to be pounded and besmeared

the face, the pimples rising in youth would disappear gradually 168 6) Levigate seeds ofSiddhartha with twice the amount ofTila seeds and

Ksara(Yavaksara) by besmearing ones face with this plaster within a 164

I lifter

I

165 M

g

kr

5-57,58a

TO II

II Ibid 5-58b&59

166 fell

^

3TOTI

wrs tecfirs 167


qrai;g*ii>r RwiR^'hih 11 teller falvPT 1

WdcbRoM^ui TO% ^T?T 168 SIRT TO HRfigTOlFT gate?it

tojit

Ibid 5-42

*\

dTOS II Ibid 5-43 RtcTOT I fccRg vM 11 Ibid 5-44

127

week, the darkness from the face is removed He says that this is a formula of Rantideva 169 7) Two types of best quality ofNisa, Gainka, Sonayasti, Rambha,Ambu and

Mahendrayava in the water ofRambha tree are to be mixed & when applied thrice on the face, then the darkness can be eradicated and face becomes moon like170 8) Mahjistha, Madhuka, Laksa and Matulunga are taken in one Karsa measure

and boiled in one Kudava oil. Double the quantity of goat's milk should be added and the bulk cooked on gentle fire Slowly, this medicated oil is a good curing remedy forpimples and removes tans, freckles,specks, eruptions, roughness etc & also gives softness Ifthis treatment is continued for 7 nights, then the face becomes gold like provided Yastimadhu is added double the quantity 171 9) Manahsita, Lodhra two types ofNisa and Sarsapa in equal parts levigated in

water and such a combination when applied removes darkness 172

169

fife w

tar

mm*\ i

*\

'UHisH&ir

'pnftfci

n kr 5-45

170 ftSTIM

1

WR

## MdRWItFMf

171

^TT^rr

il Ibid 5-46

#IWTI

fPT tT#T II |

ftf%M

ftd %fcficbc§[c(Pjc1^ I WRIM4V>| cWT II Ibid 5-51 to 54

172 MsfSMT Wtt #51 ftftsIlMfaTS MTS I dlRft# ft# M M%Mlftcf>T

II Ibid 5-55

128

cq|T ST^FIT^||

II

10) Rajani & Raktacandana pounded in buffalo's milk and to be applied on

the face which removes darkness 173 Oral Hygiene is a part of Mukharanjanam in Kamaratnam The various combinations are prescribed as mouth freshners and odorants. They are 1) A man who keeps powdered seeds of Rasala, Jambuphala and Karkata

along with honey in his mouth at rught, his mouth becomes fresh.17* 2) Jaggery, Tvak, Ela, Jati, Sihla andSvarna the small pill of these should be prepared and such a pill taken with Tambula leaf during day & night would make the mouth odorant175 3) Mura, Kesara and Kustha powders are to be licked by women in the

morning and evening for a fortnight, would make the mouth fragrant like camphor176 4) Powder of Kustha & seeds ofPikaksa mixed with Ghrta and Madhu are

to be consumed for a month, his mouth emits Ketaki fragrance 177

173

I 94ita 444itor n kr 5-56

wUit

174 RSrt)

175

gwr

ii

HUOfllclfiltB ciFipij’qf

Tf

ibid 5-32

fc$4Tl ger

176

II Ibid 5-33

41 gnrc4 w cb*|[gp4)

177

HlftogcRrr I

I

spsm n ibid 5-34

ftq>Rl4)iSflPc|dHRf f^R44 I gn 4^4 4^44% cbd3FF^4 II Ibid 5-35

129

5) Pathya mvced withMisi, Kustha and Kana boiled in Gojala(i e cow'sunne)

if thus mixture is used, it will remove bad odour of the mouth178 6) Tila, Jatiphala and Puga are to be chewed and half Pala cold water

is taken which eradicates bad breath179 7) One should gargle with Ghrta and Kahjika and then consume Sati,then

it would eradicate offensive breath.180 8) Prepare Kvatha of Kustha, Valaka and Haritaki in Gomutra and powder

finely - the pills of these if kept in mouth would remove foul odour181 9) The paste of Smdhuttha (rock -salt), Siddharthaka, Sanva and Tvaca is to

be applied, then the bad odour emitted by mouths of men & women in their adolescence, would disappear182 10) The author also advises to clean the teeth with Dantakastha having

the taste ofKatu(pungent), Tiktafbitter) 6s Kasaya(astngent) or lavigated in the powder of Kustha along with honey 183 178 likts c^jf^T qsqi qfafilta II KR 5-36 179 fcRT snfcTOwT

I

q'tfII Ibid 5-37 180

qftdt WtiS^I rraifct

II Ibid 5-38

181

#141 *nf faesT

u ibid 5-39

182 f^pitetoiRciHi

ceraipFfT JSWFSIS II Ibid 5-41

183 ‘c|i'dfdck1cb4|i)«T o

c^ebl&H

I’fal #rf % fel

Pl?£RT8 I II Ibid 5-40

130

(h)

Dhupas Nityanathasiddha gives some ideas on Dhupas He states that an

intelligent person has to adopt Dhupas m following circumstances They are Kanyavara(Mainage),Yuvatisangamana(-while interacting with beloveds), Naranam Narapateh Ca Alokane[while communicating with king & others), Krayavikrayadau(m bussiness transactions), Prajnavidhi, Sakalakarmam (all works) & Kautuke (Festive occasions) 184 Accordingly, he prescribes a combination of Srngi, Vaca, Nalada, Sarjarasa, Trup & Malayaja mixed m equal quantity , the lady who burns the Dhupa m house, for dresses & for body , to her the people will be attracted.185 2.3 Kamasastra (Erotics) Kama is root cause of all activities. Manu says

srowr fen differ

% cbliidd i II MS II4

In the context of Kamasastra, Kama is an instinct and it is the root cause of attraction between man & woman,Tanusakharama Tripati.m the preface to the Nagarasarvasva, quotes a verse which defines Kama as under 184 cFqfe

picrawr

awifet 185

WlWItflcH

iftqctg

)

m sjys ife ffeiferfefeis n kr 5-1 tPIH

m

cTRITRJ

m^

#58 || ibid 5-2

131

^ jgspir *#HT ^ dilH

cfT I II NS p 1

i e Kama is a sense of attachment or attraction for the opposite sex This attraction may be due to love or lust The acts of Kama are of equally important as eating, smce the success m life depends on both food 85 Kama ; they are the result of Dharma 8s Artha 186 In the activities of Kamasastra, physical personality plays an important role There are many classics on Kamasastra 1 e.Erotics m Sanskrit Literature m which Vatsayana’s Kamasutra is the oldest one. At the outset, Vatsayana mentions 64 arts to be studied m which the Angaraga i.e Cosmetics 85 Gandhayukti i.e Perfumery are included He says that a man who is versed in these arts wins the hearts of women.187 He further says that the expertise m these Arts 8s Sciences will give charm to the personality. Vatsayana is of the opmion that Rupa 1 e. good look is one of the important means of making a person agreeable m the eyes of others 188 Accordmgly, he prescribes a general regimen to be followed m which the cosmetic 8b perfumery activities are included In the chapter on Nagarakavrtta, he instructs everbody to get up m the morning 8s

% wm,

186 187

Alo

3wTT§

wrats 1 ks 1-2-37

ciMKlSdldcbRcbS I Mcf II Ibid 1-3-21

188 WT 3# 4WIFT #

I

Ibid 7-1-3

132

attending the nature calls , then brush the teeth, take bath and apply i

limited quantity of unguents to the body, fumigate the hairs with Dhupas, wear the garland of flowers, use bee wax (as moisturer) 8s Alaktaka as lipstick, gaze his face m mirror, consume TambOla , then the other routme works are to be continued 189 Further he instructs everybody to take bath daily, anoint the body with oil on alternative days and lathering substance 1 e soap to the body every three days 190

J

The above defails mform us that physical appearance is the primary requirement; of civilized life. Accordmg to/Vatsayana, every bed- room should be equipped with the pots of fragrant substances which are used for perfuming the body 8s mouth and barks of the Matulunga for removing the bad odour of mouth 191 Exchange of flowers, perfumed omtment were common among lovers 85 beloveds m those days Further, he is of the opinion that the physical beauty of man 8s woman has important place in conjugal life. He also believed the concept of love at first sight(Caksu Priti )and he has considered it as the first stage of love or lust Hence man and woman usually look at the beauty

189 IS

ij^^qrcfqrg HfeWydm 3JT rftfcT W TjitetT

feWMW 190 191

hfh;

m

3®

etjiiifuiyR&d I KS 1-4-5

1 fMwpi
u ibid 1-4-6

qMwpNd W taWTcB

^

I

Ibid 1-4-4

133

and fall in love If a man or woman lack m beauty, he or she should recourse to the other ways of attracting the opposite sex 192 The above information clearly indicate that the Cosmetics & Perfumes play a major role m one's life As Kamasastra texts are primarily mtended to deal with conjugal happiness,193 the cosmetic & perfumery concepts appear m these Kamasastra texts as supplement to the physical attraction. For instance, Kalyanamalla m Anangarartga says

c&rfcli

ft II AR 7-43

Kokkoka m his Ratirahasya says that the essences of certain aromatic plants & incenses are to be created m the house so as to give rise to lust or love.194 Vatsayana m his Kamasutra gives some general compounds for winning the affection which he designates it as Subhagankarana They are : (1) The application of an ointment ofTagara, Kustha, Talisa increases beauty 195 (2) A fine powder prepared from above plants applied to the wick of 192 The Concept of Beauty In the light of Cosmetics & Perfumes p 12 193 i)3RITUJRTTS

I TTcT§

II RR 1-6

|| PS ijfer p 5

194.fW-?FK-T^-f^JIFR: - Wits I fqt t$#r filers wn 195 cFR fS 'dk^dcbl^'-H

n

rr 15-117

I KS 7-1-4

134

lamp, then burnt with the oil ofAksa,produces a black collyrtum which should be collected in a human skull This collynum when applied makes one look lovely 196 (3) The oil prepared with the leaves of Punarnava, Sahadevi, Sariva.Kuranta

and Utpala if applied to the body has the similar effect197 (4)

A garland offlowers spnnkled with the powder made with ingredients mentioned above has the similar effect198

(5) A preparation of the powders of the dried Padma, Utpala and Nagakesara

mixed with ghee 8s honey, when taken regularly makes a person beautiful in the eyes of the others 199 (6) The above things together with Talisapatra.Tamalapatra and Tagarapatra

used as an ointment produce the same result200 (7) The eye ofpeacock or an hyena encased in a pure gold oranment

and worn on the right arm is efficacious in beautifying one self201 The important Kamasastra texts which deal with cosmetic 8s perfumery products are Kamasutra of Vatsayana[3rdC A D),202 Ratirahasya of Kokkoka

196 qfffa

dWIlt *ntao^o€T I KS 7-1-5

197 grfcn 198 dSpdTiTcr

n ibid 7-1-6

I Ibid 7-1-7

199 q#^RFIc5WIIT sW^dHI 200dI%T 201

Ibid 7-1-8 I Ibid 7-1-9 miMc! JTFt^l Ibid 7-1-10

202 Plant Cosmetica-Ed P V Bole & Kunda Patkar p XXIII

135

(7-10 A.D ),203 Nagarasarvasva of Mahamati Padmasri (8-13 A D ),204 Pahcasayaka of Sri Kavisekhara Jyotirisvaracarya (14th AD )205 & Anangaranga of Sri Kalyanamalla(16th century AD)206

The usual items of Gandhasastra discussed in Kamasastra texts are : Kuntalavasa(Haxr perfumes) ,Kaksyavasa{Armpit deodrants), Grhodara (Room

perfumes), Vasanavasa(Dress perfumes), Vadanavasa(Mouth fresheners), Sahlavasa(Aromatised waters), Pugaphalavasa (Perfumed areea nuts),

SnanacL/ma(Perfumed bathmg powders), Udvartanacurnam(Powders for massage), Dhupavati(Incense sties) & Dlpavartih(Perfu.med wicks).207 These products are narrated m these texts as sex stimulaters 208 The recipes explained in these texts are grouped as under : (a) Facials (b) Depilatories (c) Body Cosmetics (d)Hair Care (e) Mukhavasa(Mo\xth odorants) (f) Grhodaravasa (Inner room Perfumes) (g) Dhupavartih (Incense sties) 8s (h) Dipavartih (wicks). (a) Facials (1) An ointment made of de-husked Yava owder,Yastimadhu,Sitasiddhartha i e Svetasarsapa and Lodhra - undoubtedly makes the faces of women glow like the gold of the finest quality 209 203 204

of cbl&lcfc-Ed # WK 9H Vide Introduction p 4 of ’CRTSft-Ed tlWIT flrqtSr p

205 Plant Cosmetica-Ed P V Bole&Kunda Patkar p XXIII 206

of 4w4luIMw1-Ed SfRcf# Vide

207 208 4RT 209

p I

31m

wm% Ntchi^cbs

% n ns 4-3 11 ns 4-1

P#TT ^Flf% Pt4cT cRcblodH^lPl 454lPl II RR 15-99

136

(2)Equal quantities of npen leaves of Vata, Kancanaparm, Madhuka,Priyangu,

Padma, Sahadev/.Haricandana, Laksa, Balhika(Kunkuma) and Lodhra are

mixed with water and made in to a paste and applied to the faces of amorous women, their lotus like face becomes more resplendent than the autumnal moon 210 (3) A paste made ofLodhra, Vaca andDhanyaka removes the pimples growing

on a youthfulface 211 Another ointment made withManca and Gorocana is equally efficacious 212 (4) The application of plaster composed of Lodhra, Samdhava, Siddhartha

and Vaca removes pimples 213 The combination of Vaca, Savara, Dhanya paste has the similar effect214 (5) One should besmear one’s body with the thorns ofSalmali pounded

in milk which cures pimples 215 210

I

cRitr tewri M|vr|

II RR 15-100 & 101

= frTOfcT 211 ^5Jc(rJiqH|cb4fcHfi|
1 Ibid 15-98a

212 *M*Hi£2lcH W M ten

213#?lfteteteFTr

II

Ibid 15-98b

tennirT I

ften *nf% WIT WfII AR 7-93 214 «wraraW^Hf

pws ftfefiT

#HI^Rte3T8l

ntefs

215cPZcR

30 cMlft ten 4T§T

m

II Ibid 7-92 I

II

Ibid 7-94

137

(6) If a paste, made by mixing Krsnatila, Krsnajiraka, Siddhartha and Jiraka

with equal quantity of milk is applied on the face, it not only makes the face glow but also removes the spots on one’s body 216 (7) If the pith of Badara is mixed with Guda, Madhu and Navamta and is

applied to the body, it removes the spots on the body, if the bark ofVaruna is mixed with goat's milk and made into paste & applied to the body, it removes the spots on the body 217 (8) One has to pound the Tila, two types of Jira and Siddhartha in milk

and such a paste is to be besmeared to the face for a week which removes black spots and the face becomes moon-like 218 (9) The Gairika, Sonayasti, Meghanada and two types ofNisa have to be

levigated in the juice ofRambha & by its application on the face removes the black spots in a week 219 Usually lipsticks are applied in order to maintain the reddish colour But it is interesting to note that Vatsayana gives a recipe, wherem, the colour of the kps becomes white He says that if Alaktaka is given Bhavana seven times m the sweat of the testicles of a white horse and appked to 216

M TOl TOrafa II

217 OTTOfcl'

I

tef

foe

en || Ibid 15-97

218 fcralMttasiRtell $Vr#T&Tl *\

*\

38 HI 3$##

219

II AR 7-95

W ten

vwm

RR 15-96

imK feM^I 1H!¥

wm

ll Ibid 7-96

138

red lip, the lip will becomes white , further he says that the colour of the lips can be regamed by means of the

Madayantika

and other plants.220

(b)Depilatories • These are applications for removing hair It is believed that unwanted hairs are obstacles of beauty & have to be removed The formulations given are as under : (l)One has to mix the ashes ofPalasa and powder of Tala, into the water of Rambha &

applied to the required partfespecially to the vagina) removes

hair & never grows 221 This formula is already appeared in Kamaratnam also {2)0) Haritala, TalabJja,Sindhura,Ghananada,Kandahksara,lksvakubija,Kunati, Vaca, Snuhimula, Mahjistha, Varuna, Girikarnika

are first sprinkled seven times

with the juice ofSnuhi, then mixed with the juice of

Iksvaku

& then

pounded together, and take oil half of that paste boil along with the water ofKandah & such paste if applied to any part, it is efficacious as a depilatory 222 220

I KS 7-2-41 I Ibid 7-2-42

221 WSWW^ddld^T

I

^4*11

II PS 4-33

222

Rpp dbt#iRd#i4> *r cR4

HpHIcf ifcjT

|

mm fetr

^'enftuii

4^518 II I

WIT I

n & II RR 15-54to56

139

(n) If one wishes to make one's head as clean as one’s palm, the

process should be repeated twice or thnce with an extra dose of Haritala 223 (3) Powders made from the ashes of Sankha, Palasa or Haritala have a

depilatory effect

224

Even the application of Kusumbha oil too has

the similar effect 225 (4) Six parts of Haritala are mixed with one part ofKsara ofKimsuka and

the mixture is applied, it has depilatory effect The same effect is obtained if a paste of six parts of Haritala & one part ofSankhacurna is used 226 (5) Having put the Bhujanga Curna inKatutaila, it should be kept m the rays

of sun for a week, the application of that eradicates the unwanted hairs along its roots of the women227 (6) If Dhatn is soaked in the milk ofVajri for a week & applied hair of 223

WfcMpRT i ii rr is -57

224

##1

225

-$Rdl#T I Ibid 15-58a

Rl^miriid II Ibid 15-58b

226 RfNIMk&RdMKcfct 'RFTT^T RRp&$TTI3;l dSH 227

Sildd^tW

II Ibid 15-59

WHlfewl

ftiRPT I

dtw4irH RraiRFfRn frtif&r

11 ps 4-32

SBpfj' gives same formula m following verse cRgftt

RlRT SHlsHId^ I II AR 6-53

140

any mortal would fall of automatically 228 (7) Sankhabhasma, soaked in the juice of Kadali tree for a week & mixed

with Haritala, destroyes the unwanted hair 229 (c)Body Cosmetics Body Cosmetics are in the form of bath powders, complexion promoters, body powders, perfumed oils, fragrant waters, body salves, body deodorants, armpit deodorants & cure for moles. The formulations are as under : (1) If the bodies of women are rubbed with the mixture ofTila.Sarsapa, Haridra Daruhandra & Kustha,

they emit a strong fragrance 230

(2) A mixture ofTvak, Aguru, Mustaka, Tagara, Caura, Sathi, Granthiparnaka, Nakha & Kasturi

can be used as an excellent bath powder231

(3) Sailaja or Silajit,Vala,Lavahgaka,Tvak,Patraka,fragrant Sihla, Tagara,Mamsi

and Kustha - all these powdered & that becomes a bath powder for the kings.232 228

m I

si#

dm&r wifaT PtodRi pw II 229 IHIf *nfcRT dels i dI#T

¥#

ar

6-9i

4)PldW II Ibid 6-54

gives same compound m different way as under

FWT

|

grfr

n

230 faddtfqwtafBfift&TfHlPl WTHTSI C6rf%

fcmfcF

II RR 5-94

231
I

Ffl%I

232

II NS 4-12

| HI%M*ld

^4

fMcTCI^IcbRIT II Ibid 4-15 141

ps

4-36

(4) Constant usages of Kastun,Karpura,Candana,Saileya,Naga & Aguru in

the form of Udvartana is prescribed for the kings 233 (5) Bilvapatra, Maruvaka, flowers ofAsoka, & flowers ofKetaki are put in

to oils & to be kept in the sun The oil thus obtained is known as Mahaparimala Dravya This is fit for enjoying the sexual pleasure 234

(6) Suksmaila,Kasturi,Kustha,Tagara,Patra & Candana are the ingredients for

preparing fragrant waters, whose aroma is equal to the perfumed breeze coming from Malaya 235 (7) A paste made up of Nimba, Aragvadha, Dadima & Strisa, along with Lodhra.Rajani and Musta.when applied to the limbs gives charm to

the women 236

233

^

& ^fFTPJW W I #£{4 II NS 4-14

234 3#

rfcTt W

^ I

%d44TSS fpift Wf m g§8

I

feer

n

cp#r

fFpr

ps

2-58

cf AR (7-51, 52) i^stc5

rnit[

3T§iWff#r

^m\°o

m

I

te

n

fter mm #4 HwiRrr ii 235

gdg I

WT ^Pl^wlddcbHIH II NS 4-10 236

*#JTFT I WK$jHl

TFTS II RR 15-95 142

A salve prepared by taking equal parts of Usira, Krsnaguru.Candana,

(8)

Patra, ambu makes the limbs of amorous women emit the fragrance

of Snkhanda 237 The bad odour of sweat can be removed by applying a paste of

(9)

Nagapuspa, Aguru, Usira, Kolamajja, Ambu & Candana 238 (10)

An unguent which pleases the kings can be prepared by taking Jati, Karkata, Raktacandana, Ghana, Srivasa, Saileyaka, Kasturi,Kanaka,

flowers ofMatanga &Sthauneyaka along withlndu (camphor) pounded in the juice ofParnaja i e Nagavalh (11) An unguent

239

by name Kasturldala can be prepared by adding four parts

ofPathya, one part of Jalamuca, one part ofJati & Karpura, two parts of Sthauneyaka, five parts ofSilasmaka and one part of Nakha 240

mfa ten I

237 teg tenMur

cpra1% w n ps 2-64

238 HHI^I^.STTT

cjtesIl^K^ I

tensf

I’fer tenter

ii ar

239

7-47

cFfcfj

wU
13^ i

tesfons ;pg, tef

m

fsws

ii

PS 2-67

240.MaiimiJW^M wits

teCTPT 4cf I

» ilFFp c#f $lf?Rg

II

c{to ter wiifq g 1

11 PS 2-68

cfztm

wkitew

w

stfmjsjr

1

ate

g I tTf^cRTg 5IF^f5^T

n II AR 7-60&61

143

(12) Another combination termed Saurabhyagarbha is prescribed in the

ratio offourparts ofPathya, one part ofJalamuca, three parts ofSnkhanda, Aguru.Jatika and Mrgamada along with Mamsi,Patra,Tusara,Vala & Kamala

taken in equal parts with these pounded together, this gives best fragrance 241 (13) A petfume dear to the amorous persons can be prepared by Candana, Eta, Sati, Patra, Sigru, Pathya, Ambu Toyada & Amaya 242 (14) Highly fragrant product can be prepared from Karpura, Kunkuma, Lodhra, Sthauneya, Jala, Ambuda and Usira in equal parts 243 (15) A royal fragrant unguent made up of Kasturi,Nagakusuma,Saileya, Candana,Ghana,Snvasa,Kanaka, Candra, Sthauneya andPutika powdered

together with the juice of Nagavalh 244 (16) The powders from the barks of Sahakara tree and Dadima tree with s

Sankha powder applied to the relevant part of the body removes

bad odours 245

I yflRlR^S rficT8

#18

1

II PS 2-69

§#48 PJd8 II AR 7-62 to 64

242 rK^dlSlta-

|

UW^#WlJi)54 2^8

II Ibid 7-55

243

I RW #18 RIRgiRTS Wo II Ibid 7-56

244 ctiR$4Flffl fl#l

SR8 I

I

I i%#q8 §¥#543^# w^i wrpw n 245 M
144

ar 7-ss&

59

The powder of Cinca and Karahja seeds too have the similar effect246 (17)

Rubbing the body with the help of the powder made up of Kakubha

flowers, Jambu leaves and Lodhra, removes bad odour due to sweating 247 (18) Equal quantities of Malayaja.Kasmiraja, Laghu, Lodhra, Tagara, Valaka

are to be powdered, the single application of this mixture in Udvartana removes strong bad odour 248 (19) An unguent made up of Haritaki,Lodhra,leaves of Arista, and rind of

Saptacchada & Dadima which removes the offensive smell of beautiful women 249 (20) The bad smell due to excessive perspiration can be removed by

besmearing the body with Haritaki, Candana,Musta,Naga, Ustra,Lodhra, Haridra taken in equal parts 250 246

fir#

247

|| RR 15-84b P#S I

1# fojtr Rrflcl

^d^&cRwd^ 249

II Ibid 15 -85

d^M^HMHdfcl II Ibid 15-87 $#Hcr
qqtS^IFIT Similar formula is found m

I

3#I8 II PS 2-50 as under

^ SM54^4'£RT§H8 || AR 7-45 250 $Rd«6h^
I

«5ft6blP)^bf4«i'IWJW fcRTSFRR ?&T $Fl°o II PS 2-51

145

(21) One more combination for removing bad odour due to perspiration

is made up of Candana,Usira,Pathya,Arti(Kustha),Lodhra & Amra bark 251 (22) Besmearing the body with Nagapuspa, Aguru, Usira, Kola, Ambu &

Candana would quickly removes offensive smell due to perspiration 252 (23) Flowers of Svetaphu tree and fruit of Jambu in equal parts these

besmeared on the body would remove the bad smell due to sweating 253 Kaksavasah (Armpit deodorants) (1) An ointment made up of equal parts ofBilva.Siva removes odour from

armpits, so also the paste prepared from Putikarahja seeds mixed with Tintidika seeds makes similar effect254 (2) A Kaksikavasa is prepared by nine parts of Patraka, fifteen parts of

Sailaja, three ports Silhaka, eleven parts Kunkuma, four parts Musta,

251 MtRFT II AR 7-44

252

l foMSf

|| Ibid 7-47

gor m

253 sfo

fan ~

. r\

254

w* l ^fTRFig II Ibid 7-48

p............... , a v

p

,

I

m

qfaici fciRiBcbiPid

ii

rr

15-88

Here, cbifcxHi^the commentator on RR, informs that or

A similar recipe is mentioned ItJodlHid 4><
is either

7-46 m the followmg way I


is given m the place of f§I4T So the ingredient f§!4T mentioned might be g(ld<4)

146

two parts of Abhaya along with three parts Guda 255 (3) Hantaki,Sriphala,Musta,fruit of Cihca and seeds of Putikarahja are mixed

together & such a product removes the offensive smell of the armpit256 (d)Hair care

As said earlier, hair plays an important role in beauty Kamasastra texts consider the hair care m the form of prescribing the formulations as hair promoters, preventers for falling hair, hair dyes, hair bleaches, fragrant hair washes, cure for premature hair graying, cure for alopecia i

e.baldness, cure for lice & nits, cure for dandruff, disentangling of

the hair etc Various recipes explained for the hair care are listed as under: (1) A hair bath with the decoction of the roots of Madayantika, Kutajaka,

Ahjanika, Gtrikarmka and Slaksnapami will make the white hair regain

the black colour gradually An oil made by boiling the above always used as hair oil, would make the white hair in to black 257

255

- fp - jhtssrt

I

Blasts cRifepirat

4-5

Here the measurements of mgndients are said m unique way as under 3JF=9, f^T=15, f§lf&=3, ^5=11, cft=4, m=2 This is called ijyRRsHi system of presenting numbers 256

fosqTOwT

1

#istr rsiM

n ps 2-52

257

HR %S!HT SIHHtFPT IKS 7-2-39 trrfcr §qq%!

st^T 3M

147

II Ibid 7-2-40

(2) Paste ofDanti and Savara have to be boiled in Tila oil, when applied to

the head makes the hair black & prevent the hair fall25* (3) An oil by name Nilataila, made from the paste ofAmra blossom, Triphala,

bark of Pandavataru and Pmdaraka boded in 77/a tala, becomes an excellent hair dye The author assures that even the feather of a white goose dipped in it would surely turn black 259 (4) The hair is to be besmeared withSatavari,Krsnatila,Gorocana & Kakamact

paste which would turn black quickly 260 (5) The hair of the head besmeared with Majuphala, Kana, Nih, Samdhava

all pounded in Aranalaka (fermented nee gruel) would become quickly dark in colour 261 (6) One who takes internally a Pala of Nimbataila every day for a month,

his grey hair gradually becomes as black as the bee 262

258

I W

259 '3TIM^T

^

%9THT

li AR 6-82

Bl4*i]^<£ qi'^4cR>Jq I

^

srara^ li W[ I

Wm

s^r II Ibid 6-85 8s 86

260
I f^THTo WFIdT qif^T

261 H1^4Klebull'M

%^I%S

fats Ww felHTg

II Ibid6-89

I || Ibid 6-87

262 Pfaflrf ^ Fm 4I%J> *18 M?R8 I fWTS %9TTS

II Ibid6-88

148

One who consumes internally, half a Karsa of Nimba oil along with

(7)

Prasava fruit, his white hair which are like Kunda flowers or Indu (moon) 263

or Tusara (snow), would gradually become as black as bee

One part of Nakha, two parts of Karpura, three parts Kunkuma, four

(8)

parts ofAguru and five parts of Sihlaka are to be mixed

&

sugar is

blended with the proportion of 1/3, that becomes a good Kesapatavasah i e hair perfume 264 Paste of Dhatri.Svarna, Ghana, Usira,Pathya and Mamsl is to be applied for

(9)

a fortnight after bathing one gets excellent fragrance in the hair265 (10)

The powder of Guhja fruits mixed with honey when applied would indeed remove alopecia and also promote the black lustrous thick growth of hair

266

Kesasvetikaranam It is interesting to note that the Kamasastra texts contain the recipes for whitening the hair which is termed as Kesasvetikaranam The formulations are as under : (1)

A paste ofAmalaka soaked in the milky latex of Snuht.Soma.Arka and the juice of the fruit of Avalguja will make the hair white

263 cbtiMnw wm

ffrr

267

i || PS 5-7

264

I

265 266 josiTOts

I skgcrffpM %5Tfi

267

II NS 4-4 HI^T

II AR 7-54 I

^®ns ffen feTMTg II PS 5-10 %?THT 94dTcM
149

(2) If the oil expressed from the seeds ofTila soaked in the milky latex ofsnuhi is applied to the hair, they will become white. (e)

Mukhavasa

(Mouth odorants)-

1 Jatlphala, Kastun & Karpura

are to be blended with the juice of mango

leaves & be fumigated with Aguru, 2 Tvak

one part,

Aguru

268

5 parts,

Jatlphala

Ela

two parts,

Kunkuma

9 parts,

& Sita 269

3 parts,

Sunthi

4 parts,

Candana

8 parts,

Jatamamsi

6 parts,

Lavanga

Sihlaka, Madhu, Guda

Ghana

10 parts,

7 parts,

Kankola

11 parts & Karpura 12

parts are to be mixed 270 3 The Vasana

ofKustha, Tagara, Jatlphala, Karpura, Lavanga & Ela

are to

be given for arecanut & can be used 271 (I)

Grhodaravasa

(Inner room Perfumes)

(1) Musk one part, camphor 2 parts, Jatamamsi Guda

5 parts,

Vala

Kunkuma 3 parts, Nakha 4 parts,

6 parts, Aguru 7parts,

268 fcBHT fter dwlmid

'MlfddHI §

I

■■wteebror *raf% ft ii ar 6-90

269

I II Ibid 4-7

270

gift I II Ibid 4-8

I

272

^1 rKd^cb

8 parts &

9 parts are to be taken & mixed , this becomes a very good

room perfume 272

271

Candana

II NS 4-6

150

(g) Dhupavartih (Incense sties). 1) Karpura, Aguru, Candana, Musta, Puti, Priyangu, Vala & Mamsi are used for incenses 273

2) One more combination is fromNakha one part, Aguru 2 parts,Sihlaka 3 parts, Valaka 4 parts & Saileya 5 parts 274

(h) Dipavartih (wicks) A wick can be aromatised with Devadaru, Maruva, Musta, Laksa, Aguru,Salacurna 85 Karpura is fit for burning in palaces.275 Gandharasa, Aguru, Guggulu, Sarjarasa, Karpura Puti, Sihlaka 8s Candana

are the ingredients for preparation of wicks 276 The above information proves that this Gandhasastra is extensive m scope 8s Padmasri, the author of Nagarasarvasva, rightly pomts out this as Durbodhagandhasastram i.e. difficult to comprehend. 273

^I dcRT^qctldRiJ4! II Ibid 4-16

274

I ^fewfcTdlcldf

TfcTOcBFrm II Ibid 4-17

275

I II Ibid 4-18

276

I £|qeifdR
151

Ill Chapter

Gandkasara ofGangadhara 3.1 First Prakarana

Paribhasa Prakarana

3.11 Manufacturing processes of the aromatic products Bhavanam (Saturation), Pacanam or Paka (Heating), Bodha (Manifestation), Vedha

(Penetration),

Dhupana

(Fumigation) &

Vasanam

(Transmission)

3.1.2. Grouping of substances 3.1.3. A list of alternative substances 3.1.4. Guidmg principles for manufacturing

3.2 Second

Prakarana

(Perfumed water)

1 Gandhodaka

2

Mukhavasa

3

Panjata

4

Gandhataila

5

Udvartana

6

Snanajalam

7

Jalavasa

8 9

Lepa

Gandhodakadi Nanagandhopayogi Prakaranam

(Mouth freshners)

(Scented areca-nuts) (PerfumedOil)

(Unguents) (Scented water for bathmg)

(Perfumed water for drinking)

(Compounds for applications) Mrgaraja (Preparation of artificial musk)

10

Dhupa

(Aromatised

11

Dipavarti

12

Uddhulanam

13

Niryasa

14 15

Syanda(Exadahon)Kusumadidruti

16

Krtrimadravyam

17

Dravyamelanaprakarah

fu.mes)&Vartis

(incense sticks)

(Perfumed wick for lamps) (Scented powder)

(preparation of artificial resins)

Gandhasankramana

3.3.Third Prakarana Observations

(method of extracting essence from flowers) (transmission of perfume)

(Artificial products)& (method of blending substances)

Nighantupansare Nighantu Pariksadiprakaranam

5CO € lea

£ <0

CD

,5 icq

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Ill Chapter:

rGandhasara of Gangadhara^ A Descriptive Study and Estimation Gandhasara, a rare text on Cosmetics 8s Perfumery, is written by Gangadhara. As said m the introduction, Dr.P K Gode, an Indologist, has discovered a rare two-in-one manuscript from Raddi collection of BORI Poona m 1944 1 The text of the manuscript was edited by Dr Ramaknshna T Vyas, Director of Oriental Institute, Vadodara and published m Gaekwad's Oriental Senes by University of Baroda m 1989 The name of the text is Gangadharapranitah Gandhasarah Ajhatalekhakaviracitasca Gandhavadah[Marathi Tika Sahitah) In the present chapter, the discussion about the Gandhasara of Gangadhara is undertaken At the out set, it is to be noted here that the text Gandhasara is technical m nature In order to analyse the contents of the text, an interdisciplinary study and expertise is required

However, the present study is descriptive m nature &

observations are made on cultural view point Date & Description of Gandhasara The probable date of Gandhasara is latter half of 12th Century AD2 This text is m verse form and divided m to three Prakaranas (sections). The colophones at the end of each Prakarana and the concluding verse

1 GSGV R T Vyas p 1 2 Ibid p 13

152

of the text clearly mention the name of its author as Gangadhara 3 The three Prakaranas are • 1 Paribhasa Prakarana - This section consists of 91 verses and explains

the technical terminology about the manufacturing processes involved in Gandhasastra The major manufacturing processes dealt in this section
are Bhavanam,Pacanam,Bodhah,Vedah,Dhupanam & Vasanam. 2. Gandhodakadi Nanagandhopayogi Prakaranam - This second section deals

with the preparation of different kinds of aromatic products such as Gandhddakam,Parijatah,Mukhavasah,Gandhatailam,Jalavasah,Patavasah,Dhupah, Dipavartth, Udadhulanam, Niryasah, Syandah, Kusumadrutih, Gandhasankramanam, Krtrimadravyam 8s Dravyamelanaprakarah

3 Nighantuparisare Nighantu Pariksadiprakaranam- This section gives glossary

of aromatic materials & their classification under sections like (i) Leaves (li) Flowers (m) Fruits (iv) Barks (v) Sticks (vi) Roots (vn) Exudation 8s (vm) Animal Products. An examination of these materials regarding their genumess is also found here. This section has 120 verses The author Gangadhara has made some significant statements at the end of third Prakarana He says

3# The concluding verse

I fW

I WWTPS' 153

I ’HpsRs cBlfeg I

fRT Wf dH^dfti?bKlc|x1K f^lfcTC II GS 3-119

The above verse gives following information with allied particulars 1 Gandhasastra i e the science of Cosmetics & Perfumery is Durgama (difficult to comprehend), Viprakirna (scattered) & Vitata(extensive in scope) 2 The author Gahgadhara compiled this treatise by gathering materials

from several sources and made it lucidfSangrhya Vakyaih Vyadhat)

Dr.R.T.Vyas, the General Editor of the text, opines here that this science had already developed through an extensive literature on it. The works on this subject were scattered over almost all provinces of India and the works on the subject Gandhasastra were difficult for ordinary people to apprehend These circumstances made it necessary for the learned author Gangadhara 4 to persue the study of the works on Gandhasastra with constant application and prepare a comprehensive source-book of relevant information on the subject for the benefit of the posterity.45 The text begins with following benediction m the form of salutation to Siva, Ganesa, Sarasvati & Gandhayaksa 4 The words like 4^1^ SFtfes specify that the author was expert in TF£T9TTC5[ 5 GSGV R T Vyas p 8

154

facieiTFWT^KJKM^lte I S afa%9T* g^W4I^ ^TS ||

^

PTR'^i iri^r

mK

T^fFTW^

^FFSraR’T II GS 1-lto 3

In the above verses the theme of the text Prasadhana 1 e. decoration is suggested m the words like Sailatmajabahulataprasadhitah Gandhayaksa, the last deity m the above series appears to be a special protecting deity presidmg over aromatic plants and therefore worshipped by those who are engaged m the vocations relating to the manufacture & trade of different items of Cosmetics & Perfumes as they are the guardians of pleasures. "

The salutation to Gandhayaksa by Gangadhara sheds a good deal

of light on cultural and religious conditions in the contemporary society which in turn may help us to determine the date of the author It also reflects on the transitional period of the Indian society in which the vedic deities such as Indra, Varuna, Aryama, Soma, Mitra

&

others were

yielding ground to the popular Puranik trinity ofBrahma, Visnu & Mahesvara together with Ganapati, Sarasvati & Yaksa and other local deities The Yaksas especially appear as local guardians or as subordinates to the

principal deities. It also indicates a distinct transition from the Vedic rituals in which Agm and oblations in to it predominated to a simple 155

mode of worship involving the use of sandle paste, flowers, incenses etc " says Dr R T.Vyas.6 " The worship of Yaksa deities had its special character Its several

elements were the offerings of flowers, garlands, incenses and music" says Dr Agrawal Vasudevasharan 7 The mention of Gandhayaksa by Gangadhara as guardian deity remmds one of their ancient relation to waters & vegetation. Based on these, Dr.Vyas opines that the author have flourished either in the 11th or 12th CAD 8 Scope This pioneering work Gandhasara depicts definite objective of

Gandhasastra m the following way :

wt

timx

i

9TM

II GS 1-4&5

Gandhasastra i e Science of Cosmetics 8s Perfumery is helpful in the worship of gods which is performed with the help of Subhagandha & Dhupa It is nutritive for human beings, it fulfills the destined three goals of human life viz Dharma, Artha and Kama, it removes poverty, it pleases the kings 8s gives highest delight to the minds of accomplished ladies 6 GSGV R T Vyas p 8 7 Ibid p 9 8 Ibid p 9

156

Textual Details The First Prakarana deals with 1

Manufacturing processes of the aromatic products

2 Grouping of substances 3 A list of alternative substances 4 Guiding principles for manufacturing 3.1.1 Manufacturmg processes

*-

In order to manufacture a final cosmetic or aromatic product, several processes are to be adopted. Some of these are common m Ayuravedik 8s alchemical preparations Here Gangadhara mentions six processes to be adopted m the manufactue of the perfumes. They are • WFT TO

M

qq ^

I 11 gs 1-6

All these six processes are discussed at length. (i) Bhavanam (Saturation) This is a process in which the grinding of the aromatic substance is undertaken. When it is softened, leaving it m a scented water for five or six days 9 This Bhavana process mcreases the potency of product Then the substance has to be purified. This purification is called

4M

4TCFKJ

Tmz

II

GS 1-7

an alchemical text explains the amount of liquid to be added m stPRr process as under hot

Mi&rraFJtg; I M ii

(Vide

Rasashastra

2-50

Dr Vilas Dole 8s Dr Prakash Paranjape )

157

Sodhanam Gangadhara treats this Sodhanam process as a part of Bhavanam process 85 not as a seperate process Sodhanam is undertaken to remove unwanted or bad properties of the product.10 (11) Pacanam or Pa/ca (Heating) It is the process of dressmg the substance by boiling Such boiling is of many types viz. Putapaka,Gartapaka,Venupaka, Dolapaka, Kharparapaka, Hamsapaka, Kalapaka.Bijapurapaka.Btlvapaka & Karabha etc. Putapaka consists of heating the substance after putting it m a roll made of five big leaves and placmg it m the cavity of two concave vassels and covering them with clay paste 8s baking it with the fire of dried cow-dung11 Gartapaka means sinking the pit m the earth, puttmg the vessel containing the substance m to it filling the hollow with clay 85 then making fire on it.12 Venupaka is filling the bamboo pipe with the substance covering 10

skts

Vide

|

Rasashastra

11. qoqiragzras

Dr Vilas Dole 86 Dr Prakash Paranjape 11

l

gs

i-8b & 9a

For making jeqjctf, an apparatus called The picture of 12. *F?

is mentioned m

is given m Appendix picture no 2

m

II UdMlcbl

I GS l-9b & 10a

158

texts

the ends with clay & keeping it under the Sun for a week or keeping the pipe m boiling water

13

Dolapaka - First of all, one has to prepare a vessel half filled with scented water & keeping the substance tied in cloth , suspend the cloth from the neck of the vessel above the water and cover the vessel with clay & then make fire beneath the vessel14 Kharparapaka means placing the substance rolled m a wet cloth m the cavity of two big potsherds made specially for the purpose of baking. After covermg the both m to one roll, make fire beneath it till the water dries up completely.15

13

14

ii

mm ^mcbi hik4i 3T w% tFjf^T5nT(T ^

I GS l-10b & lla II

«ildmieb ftterEPfl Ibid 1-llb & 12a

For processing the substance in tjltimi'b an apparatus termed ({Mid-d is explained m

texts twrajira' of =iF]ye gives the description of

as

under ^Rdl'd'k^id WI srcstr

4^11 (quoted in

II

jj ^^d^dld-dPiRl^dH II

9-3 &4

aiqRidM-p 40 &41) The picture of the apparatus

is given m Appendix pic No 3 15

I gfScT 3% tiracT-ffg f^lcf

I

II
159

....II GS l-12b, 138514a

Similar to that of Kharparapaka if any aromatic substance is baked m the centre of Bijapura(Citrus media), Bilva (Aegle marmelos) and Karabha (salvadora persica); the Pakas are known as Bijapurapaka, Bilvapaka and Karabhapaka respectively

16

Similarly, Mulapaka can also be

undertaken by making the substance after placing it m the root of certain trees such as Sigru etc

17

Hamsapaka means placmg a vessel containing the aromatic substance after covermg its mouth with clay m a bigger vessel, filled with water, then placmg on fire.18 Kalapaka denotes putting a vessel containing substances similarly m the heap of cereals After a considerable period it gets baked

19

It must be noted here that this method is much time-consuming as it takes very long time for achieving the desired result Therefore, it might be rightly designated as Kalapaka Then, the text Gandhasara gives general instructions regarding the process of Paka The author says that the substance, before subjectmg 16...................... hi^kA

tori

cdt 3isn«Rnc qfasf d II cPfSZFT

cfvdTSpl fe
II GS 1-14&15

d d&MI«M$^yM81 Ibid 16a 18 dFS

II fed MIcbl^'dMIcblsfe' dfel Ibid l-16b&17a

The picture of KWR is given m Appendix - picture no 4 19.Wr&MtlI§Rsfe chWMI+fefel dS II

Ibid l-17b

160

it to the process of Paka, should be triturated completely so that it is reduced to veiy fine powder. It should be then baked not with too much of liquid mixed with it 20 These processes be considered as accomplished when the clay used for heating becomes ruddy like of a mature and ripe fruit of Tala 1 e.palm-tree.21 In Kharparapaka, the process is believed to be complete when the liquid is dried up 85 m Dolapaka,when the substance becomes extremely tender.22 He further instructs that durmg the summer, winter and rainy season the process of Paka with the help of fire should be mild, severe and medium respectively 23 (111) Bodha (Manifestation) The next process after Pacana is Bodha This is a process m which the scent is to be accomplished with the help of substance condusive to the expression of the perfumes such as Kuca(Punica granatum), Kola(pepper mgrum)and Mura(Selimum tenmfolium).24 Sometimes the earlier processes may lead the substance to 20

WF2JT

^rfte^Tg I GS l-19a

21 *T£RT qsRMIdTOT

cRT II Ibid l-19b

22

41^14 I Ibid l-20a

23 qicRt 24

c^WM^S MS cFM || Ibid I-20b ^cbl^lRi^S I

3fas MrT
inactive position So this Bodha process is usually undertaken for making the substance potent or active (iv) Vedha (Penetration) Vedha is a process, wherem, the required substance is to be mixed with the liquid essences.25 Here the text says that this process can be accomplished with the essence of Karpura, fluid of Arka and Cala or even with *

the help of substances used m the processes of Bodha, after considering the nature of the substances mvolved, whether they are agreeable(Mitra) to one another or are neutra\(Udasma) or contradictory (Satru).26 (v) Dhupana (Fumigation) *General instructions provided by the author m this process are as under Initially the fumigation should be astringent, thereafter it should be severe with strong smell and ultimately one should use the sweetsmelhng incense. Normally the incense used for fumigation has to be mild as a rule.27 For the purpose of fumigating the articles like unguents, clothes & other blends, the appropriate Yantras or apparatus be prepared as demanded by the occasion 28 25.3nf

m3 3

1

lOTOTf's Commentary on BS 77-11

3

26 M cfiitfg

Motets II GS 1-23

*pn*nfr§ mm sjjwi §k§ i

27 3§8

Wlc«l4cf5T$|cb'S II Ibid 1-26

28.3f#HTft 35cfcl dtt^Rld

tRxFr 3% II Ibid 1-27

as depicted m

mR'hihi is

162

given m Appendix picture no 5

Dhupana is said to be accomplished when the finger, rubbed with

substance, receives reddish colour & oily feeling 29 If the substance, so fumigated, is burnt or receives excess smell, a vessel containing it after lutmg its mouth with wax should be kept in cool deep water for some time 30 (vi) Vasanam (Transmission) This is the sixth 85 final process explained by Gangadhara He says Vasana process is to be operated for removmg the Dhupadosa 31 In this

process the substance or liquid to which the floral fragrance is to be transmitted should be brought mto contact with the flowers by usmg suitable devices such as m case of liquid, it is suggested that the liquid after condencmg it suitably, should be first placed m a concave potshread like vessel, specifically made for the purpose & should be covered with thick cloth 85 kept above a heap of flowers for a good deal of time. This process may be repeated till the desired result is attained.32

29

wi

mm 30spter

ft®

ckt

11 gs 1-28

mm ^

m 31

*rer 1

*n$r

ftas....... I

II Ibid 1-29

Ibid 1-30


fafvR yfrwwg

11

alqRt flf^I5ferra% I Ibid l-30b to 32a

163

The author is of opinion that the Gandha from impure products should not be used m worships & too much fragrance is also not advisible. Therefore, an advice of processmg is given to purify the substances.33 3.1.2 Grouping of substances Verses 34 onwards describe that the process of Vasanam and other purification processes are to be conducted on the basis of the agreeability of certain fragrances with the others Accordingly, Gangadhara classifies the substances mto three groups They are Mitradravyas, Udasmadravyas & Satrudravyas 34 So far as the blending of two or more aromatic substances is concerned, the specific quality is mentioned m the following verse dcTcfiMl

Wti II GS 1-70

g

i e An agreeable substance should be blended in equal quantity, the neutral substance should be half of the substance with which it is to be blended and only a quarter of the substance, that is contradictory in nature should be blended with any other substance. Then Gangadhara classifies the plants m 3 Ganas i.e. categories as Mitragana, Udasmagana & Satrugana 33 ^rfrTRqpilS 4

II I GS l-32b & 33a

gifs II Ibid 1-69

164

The plants coming under Mitragana are

Arjuna, Cutapuspa, Bilvapuspa,

Kukuraka, Barbara, Surabhidaru,Madana,Madhuvaka, Renuka,Vyaghra, Kustha, Mura, Mamsi, Patraka, Nalika, Kunkuma, Punnaga & Pancapallava 35

The Udaslnagana plants are : Mustaka, Saraia, Ksaudra, Ksudramusta, Khacoraka,Cana,Nakha,Cakra,Kakatunda,Vaikala,Sugandhi & Barbari 36

The Satrugana plants are :KarpOra, Guggulu, Laksa, Sailaja, Dadhi, Kunduru, Sukahva, Gandhaka, Hmgu, Vaca, Lasuna, Sarkara, Bakuci, Simhamutra, Chaga, Sigru & Jala 37

Thereafter he also quotes the opinion of an other text regarding Satru, Mitra & Misragana substances.38

3.1.3 Alternative substances •Further, the text indicates that mease a desired substance is not 35 >31^ ppiod ejehr

’feRrcFjoq' wr w

"bpi am fs w p

ii

^

pFT qWtwRT II Ml tFWfg %J^RTl GS l-71to73a 36.pi=b tnsf $n* *ppT II %r 37 ^ pj?r

^I#FFTt

mm

trasr

II

Ibid l-73b to 74 I

TT^raT f||[ cjqfflpsicfojg II

dl^Rfe^l

yns 38.3RiRTf 3 -

w

trail

3HPIT

% II Ibid 1-75 to 76 p W ^ytUSRlHIS II

fw44i'^<'ldBli|^diyi434l 4I#p

## p

I ^4'dl3ck1lci.?l*lRl4)4l534l54*il5;:^' W WitRMi II | 4fl§Tl^ FRifepfdffd

clg II Ibid 1-77,78 &79

165

available, then its substitute may be used Such a list of substitute substances is also given in the text.39 Whereas, he cautions us not to use a particular substance m particular usage as under -

^ mm ^c||^ R

tcbrtrK^ || GS 1-86

i e Khadra should not be used in mouth odorants & Raktacandana in bathing 3.1.4 Guiding principles Gangadhara informs that different aromatic substances posses the power to create a great variety of effects and therefore one has to know the characteristic features (essence, power 8s effect) of substances before they are applied for manufacturing. He further stresses that only such an expert can prescribe the products for usage 40 It is stated that while prescnbmg the unguents or other aromatic applications, the expert must know the Tridosa nature i e Vata(gas), 39

I

## tol

i

cb^middi

wn\

t4)'^l4!lHlcldl

||

I II 133T 40 -<-y4l4RmicbiR §T!#«j8 IRJ53I

II GS 1-82 to 85 ^I

tl M ^RricJrRg II Ibid l-87b & 88a

166

P/tfa(bile) and Kapha(phlem) of the persons to whom it is prescribed m order to apply it as medicme 41 He farther instructs the following guideline to prescribe cosmetic products for eliminating the defects 3fp%r wtc# sar cb^rdcWcbW

flcH n

3

^I

GS l-89b & 90a

te to a Vata natured person fiery substance should be used and to a Pitta natured cool in effect is beneficial & to a Kapha natured pungent and astringent substances should be used. In the concluding part of first Prakarana we find an advice not to use perfumes of contradictory nature m one's daily life, i e with regard to clothes, beds & seats Moreover, a note of caution is given against the excessive use of perfumed oils for hair in the following way fcRSgrfr

I || GS 1-91

Thus, the First Prakarana deals with manufacturing processes alternative substitutes & guidelines for manufacturing based on characteristic properties of substances 3.2 Second Prakarana : This chapter of Gandhasara begins with prayer to Siva m the following way :

W(°o W38

41 5#HT affcT SgddlRcb' ^odldd

didftdcb'-bltHH I II GS l-88b &89a

167

II GS 2-1-1

This verse, which depicts the picture of Siva with full decoration, suggests that the result of Cosmetics 8s Perfumery is Pramoda

1

e

pleasure. The topics discussed m second Prakarana are . (1) Gandhodaka(Perfumed water) (2) Mukhavasa(Mouth freshners) (3) Pap/afa(Scented areca-nuts) (4) Gandhataila(PerfumedOiL) (5)Udvartana (Unguents) (6) Snanajalam(Scented water for bathing) (7) Ja/avasa(Rerfumed water for drinking) (8) Lepa(Compounds for applications) (9)Mrgaraja (Preparation of artificial musk) (10) D/?£7pa(aromatised fumes) 8s Vartis (mcense sticks) (11) D/pai/a/?/(Perfumed wick for lamps) (12) Uddhulanam{Scented powder) (13) A///yasa(preparation of artificial resms) (14) Syanda (Exudation) 8s Kusumadidruti[method of extractmg essence from flowers) (15) Gandhasankramana (transmission of perfume) (16)Krtrimadravyam (Artificial products)8& (17) Dravyamelanaprakarah(method of blending substances) (1) Gandhodakam (Perfumed water) This section of second Prakarana contains 12+6 verses. They explain the preparation method of varied perfumed waters Author says that this Gandhodaka is very much essential m Sodhana process 42 Then he proceeds to give various combinations of Gandhodaka under the different heads They are -

42

GS 2-1-2

168

(i) Sasisekharavallabha (pleased to Siva) is a name for the combination ofPhala, Kosa, Kola, Kanya, Aguru, Candana, Hanta, Bilava, Jala & Jalada along with Karpura 43

(11) Haradasavallabha is made up of Bhramara, Jalada, Gada, Kesara, Patraka, Jati, Misi, Satt & Danuja along with Cancala 44

(in) Vijayabhisekasahjna is from Jaladhara, Mamsi, Danava, Paramakarpura, Bhadra, Piccha, Gandharasa & Sigru 45

Likewise some more varieties like Karaviramodasamogandhah,46 Kamalagandhah,47 Campakagandhah,48 Kundakusumodbhavagandhah49 Jatikusumopamogandhah,soKetakItulyogandhahsl are explained He contmues

43

I II GS 2-1-3b &4a

fte

I Ibid 2-l-4b &5a

45 FTRT I Ibid 2-1-5b &6a HclI^cbRldeb^dHl^Ml 391%

47. WT8 9TI#M tr

?TPll

I Ibid 2-1-6

qiR*l|c£|W I

3dITC9d cBcmr ^I4T UHI?FtPT^ II 5RT4rr 48.

cbMIMdcb%||c6l
49.1H<$=bl *11% tf TT^5rf q«jfe|^S 50

I Ibid 2-1-785 8a

II

ftMPpflsRISi Ibid 2-l-8b8s9a

Wt\

=bMI4lg II ^^pq^NsI Ibid 2-l-9b8slOa

*n% % curare *n% wmi sg!ftcr§ n rfrl

51 cBRimpfr ^TFft UWfeT W

Ibid 2-l-10b8slla

flBJtg II 9liRM43%Ri?Rci8 I Ibid 2-1-1 lb&12a

169

to explain the vanties of Gandhajala of earlier texts as Kaikambu.Svarasah, Kvatha, Asavah & Kusumadrutih 52 The preparation details are also given.53 2 Mukhavasah (Mouth odorants)

Then Gangadhara proceeds to Mukhavasas i.e. Mouth Odorants. This section consists of Dantakastha i.e stick for brushing teeth and other mouth freshners. He insists to use them daily.54 The procedure for preparing perfumed tooth-sticks is as under. "

Put tooth-sticks in cow's unne mixed with the powder ofSataya for

a week and take them out & dip them again in a scented water prepared from Kustha Ela,

Tvak, Patra, Ahjana

and

Vallija

along with honey & pepper

Then powder them with a mixture of Phala (nutmeg), *3t*T8 33T3 mmz

Karpura (Camphor),

li GS 2-1-12b

53.i) ZFPhVf

3w3iRf3 31*#

3*3il*§ 3#% 33flTS II Ibid 2-1B-1

h)NWS 33# J*T # 31*#

*# 38 I sfe tr^f

313#

P#fg || Ibid 2-1B-2

33'^Rl^:

I

331^1*^ 333133?!# cPf3§ TF#33) 313 Pi ‘ 133538 II Ibid 2-1B-3 IV)3JRRS W 3§T %*3*3 3# 35ITO33I *#313 p3#81 3*3 3MfeFH33*3

3%3

3i*#3T33 II Ibid 2-1B-4

v)

*g# T# # ifrRra^S# 3#53 3®I*3 *13*3*3*81 Ibid 2-1B-5 54.333#W3i|R<313^31# '^MdPlHld I c?333S 333313

*I3%p%3#T II Ibid 2-2-1

170

Patra and Ela prepared in the ratio of 4 3 2 1 & then dried in the Sun!'.55 This description resembles with the details on Mukhavasas of Brhatsamhita 56 By observing these similarities Dr R T Vyas opines that these verses of Gandhasara are modelled on Varahamihira’s Brhatsamhita 57 Another simple method of preparing the tooth-sticks for brushmg is also given m the text

58

The result of using these perfumed tooth-

stics as explained m the text is.

i e good smell, cleanmess & punty to the mouth and agreeable voice Varahamihira also enlists the following benefits of usmg Dantakasthas m Brhatsamhita : cjtok

ciwr

tsiswrwsT

I n bs 77-6

Thereafter Gahgadhara quotes the opmion of others regarding the importance given to Kustha, & Haritaki in Mukhavasas ; but Gangadhara dissents with this opinion59 & upholds Tambula as an important factor 55.^ mm


1

n

4$% Ms

^iMs J! I GS 2-2-2 to 4a

56

mS

^

%4T I

TpdR% w ^

11

1 mrnmz cjxfer cbf^i^w f^idwMr 1 ffmWrfi#ri law^flidiPi M4flMrg 57GSGV 58

R T Vyas p 10

mim TI&SmTcf 3^144^ II GS 2-2-5

59 qefg 3?pn%3 5®rr fsffMt I |fcT

II GS 2-2-8

171

11 BS77-3ito33

for removing bad odour of mouth60 85 narrates the preparation method of Tambula 61 Further, the various formulations of Mukhavasas are explained62 which are used either for religious purpose63 or sexual attraction.64 A general composition of Mukhavasa which can be consumed after meal is as under :

II

60. cn^f*Ff *fag p?

GS 2-2-17

1

cjcbicM^I&KHd8 M fa^S || GS 2-2-9

61. *#

*J
«Gftefa^l
3W

I

9J!J gTTcH 3R5T

foe

II

infers I rKHMftdl^JRcRR^l^I^RIS II

fa#Sjfodg ?3lfa$I

Ibid 2-2-10 to

62

12

I Hfc
b)WTT8 Wt53T

HeKlPldlS I

5fa# *Keblb|4l8 II 3#

^ l"df

cl HljJ^ 4# ^ I

qEftf^d^Mddcimg

II Ibid 2-2-198s20

C)

sfld^dl^ddfag ufa# g^ls I fofe ^l^fclcU^n g 3et^cif^l -cRPrlldd+I ?lfapnfafa®8 II

63

?I4T ft 3>d3td4)§ I ^^Jcl# fa# 3
64 a)4>'d

GS 2-2-13

l^l^cbibdcbf
?lfa|cM^(lfa#

II Ibid 2-2-14

b) cbVffdl^l ^cif^cbMI^^dl^llflg I «rafa 4TOigs II

Ibid 2-2-15

C) ^ebM^tdi^rl^Hl^^eblgi^faftdi I 3^nRT8 cb'fcjJftfa^S W&fa
172

Ibid 2-2-24

Further various compositions & preparation method of perfumed pills, which can be kept m mouth, is also explained 65 3 Panjata Though Panjata can be considered as a part of Mukhavasa, but the section is seperately dealt with because this specially explains the preparation of perfumed arecanut pieces Author assigns the name Cikkanika for perfumed arecanut pieces TFSkcMfe)sll§ jppplfadlWdS WIWo I feta

feFTT

II GS 2-3-1

Then he prescribes a common process to be adopted m preparation of Panjata as under • The arecanuts are to be made in to small pieces 8s equal quantity of Srikhanda, Jma 8s Candra (Karpura) are to be blended 8s be fumigated with Candana 8s Vedha offragrant flowers is to be given 66 Various branded Parijatas are also explained under the names

65

1

*ta ddfodl

II Ibid 2-2-22

*MdldWlfe ^crfrT II

66

ddS ddfel d dxfel

^

Ibid 2-2-23

*

I fe w d-swBd dcteifci

n

I 3^8

II

| qifr^ITcPI

173

flfelS FRR& 11 Ibid 2-3-2,3&4

like Tnpuraharavallabha,67 Vidagdhadayita,68 Madhukarasantosasanjna ,69 Tnpuraharadasavallabha,70 Vadanabharana71 & Asamasara 72

Further a table is seen where in 25 ingredients are mentioned as under 73 Lavanga

Candana Saumpha

Motha

Taja

Kutha

Elavaluka Jayiphala

Candratvak

Jayipatri

Valaka

Kunkuma Nagakesara Puspakankola

Hirade

Rohisa

Dhamya

Patraka

NilI

Suksmaila

Lavangatvak

Corapuspi Renuka

Sthulaila Padmaka

Here he says that at our choice we have to choose any five substances and prepare pills of these along with Khadira & consumed with arecanut.74 The author says that the total number of products

67

ssJkrs ^tocpis

ffRcflIM SfipiTl

mRiiWcbl qcdcT II GS 2-3-5 to 7

tfi'j^CflTcfo 69

I

70

II Ibid 2-3-8

mWFIII|I Ibid 2-3-9

TTOTT^I ModRlMHlRcH W fltTS usjMssr

Tr|cb'J|1^

%WRRtoIWIT5^

I

II sjftei gqg n

W$\ q#iMcRg II Ibid 2-3-10 to 12

71. ^cbd^H^ti^dN^cb^§l%c(frg | ^bHR
73 GS R T Vyas p 13 74 3#p|fteiT

n

cum

T'P|4dlS mR^ldlS jfeKTS Hf^fdT8 II GS 2-3-18b&19

174

resulting from these combinations are 53,130 75 4 Gandhatailam (Scented Oils) This constitutes next part of Gandhasara He says

II

GS 2-4-1

i e.After consuming Mukhavasa, being in an aromatically fumigated

room, the person is advised to use Gandhataila The procedure explained for getting the perfumed oil is as under First of dll, the Tilas are to be cleaned in water & pestled & made them dehusked & dried,then these dried Tilas are to be spread on the flowers contained in a clean & fumigated vessel Again the fragrant flowers are to be covered,thus the vessel is to be fulfilled & closed Next day the Tilas are taken back & same procedure is to be repeated with new flowers When the Tilas become Katu due to absorbtion of Gandha,then the oil is to be extracted with the help ofYantra Such oil can be used forAbhyanga etc 76 75%cfdT 3
(<\3,5»3°) I rTcrflft || GS 2-3-20

Here the word

denotes the total number of products as under

H = 0, # =3,^5 =l,3nw =3, if =5 This is called fdiKsMi method of presenting the numbers Usually in Sansknt, the numbers are to be wntten m reverse order -sigjdT 4W# nfrrs l 76

dF^N^l&^tfltddS II dRWWIMd c#T

mjg.

RiddHdH I sjfte cR4

T55R^efil^Tl^fqfrlf[8 Wf I fdS H
dels SPUcT 4Id1tMT8 5RFF%

rraT^ d|§tr wd dfFF'JdTT fdtfl'4'4

9T4

digcST

wJ'RksM

f§*T8 ^8 II f48 5^351^4^8 II

I

II

*k4^l 3^8 gdS Wf4 f^IRcn^r I dM^dRlRMi

diRwr I ddl

sfcr

rP-l4ldd4ls4(d I dd*fRkrHlust£FP4$ll4f 175

II II ii

4M4d II Ibid 2-4-2to 9

Further, Gandhataila

Gangadhara

explains an easy method of preparing

for which he assigns the name

Suryapakavidhi

Here, a garland

of scented flowers is to be dipped m oil & kept m Sun light for a day , then that garland is to be taken out 85 newer one is to be kept till the oil becomes very fragrant.77 Then he proceeds to give the recipes for various branded oils They are . Maiayamlabhidhatailam,78 Campakamodatatlam,79 Jatiprasunagandhatailam,80 Padmagandhitailam818n Campakagandhatailam

of

Campakagandhatailam

Brhatsamhita Gandhasara

Out of these, the manufacture

resembles with the description contained m narrates : fMT

I

cl#T

II GS 2-4-22

1 e Equal quantities of the powders of Mahjistha (RubmCordifolia) Vyaghranakha(a plant) Sukti

(shell) Sraka,

Kustha & Bolarasa

are taken & the

whole thing being mixed with the oil of sesamun, being heated by the Sun's rays. 77

qjfqicb*f


Rwtaftw c^cSTT

li

4MT

deft 4M4 I

I

11 gs 2-4-i7b to 19

78

1 ^fqf^Tcf

W

79

rfvPT II Ibid 2-4-20

I W ffef g

80 ^K4l
Wjfthz 81

II Ibid 2-4-21

I FM II Ibid 2-4-23

I doddWI&frlAl^d^d

feWH I

d Wlf% ^TRT II Ibid 2-4-24

176

Brhatsamhita explains cq5R#T

I

^frSdjH^ddHS

dlfrib rTlFWlf^f^PT II BS 77-6

Comparing these two Dr P K Gode says "Gangadhara has borrowed these verses from the Brhatsamhita as he bows to his predecessors (Gandhagamajnah) 82 The vanous reapes, according to seasonal changes, constitute the next item in this section. Text says Pahcartana oil is to be applied in the rainy season,83 Ravikanta is for winter84 and Rativallabha for Vasanta i.e. spring season 85 5 Udvartanam(Rubbmg) Udvartanam means rubbing the body with unguents This section starts with the benediction to Murari 1 e Visnu m the following way

38 cfiftg cCTWRp II GS 2-5-1

Here also the goal of Cosmetics 8s Perfumery i e Pramoda is 82 SICH

Vol I P K Gode p 59 Vide fn

StTT I 84

dT*IT fte

II Ibid 2-4-25to27

I cflfte^msTTW cfMT MPTSrWS II

II eKT^g^pte gd fog tfol dcTl#4 folFFt cfo

85.PlfterdH^IIldldTdWf7ra%o I

gd^d

fo?ST% II Ibid 2-4-28to30

dligdTlrdfofcfjddTdcFg^S II

gdd t&5d?f dlfo fog cKT *fogdT I fog 4^Fdd44 $4d

177

II Ibid 2-4-31& 32

indirectly suggested It is interesting to note that author praises Sriramacandra & Hanscandra m this context, the two great personalities of Suryavamsa in the following way m°o

1

foppfa cfpi^JT

II

fec||ft^c|U^

'R^T II GS 1-5-2,3

It seems that the above verses indirectly describe the result of Udvartana m the words like Vibuddhaharsa(awakened pleasure), Prabodha(alertness) Sattva(Vigour), Anupama(Unbea.table body charm). Next we come across with following verse . cfjRU I ^iicbtcictni tpg zfhqyg

n

gs

1-5-4

This description also helps one to assume that the Udvartana leads one to have a good physique which is very much essential m attractmg the opposite sex. The above 3 verses help us m recalling the scope of Gandhasastra as explained by Gangadhara m the beginmg - Rajnam Tosakaram (pleases the kings) 8s Vidagdhavamtacittapramodapradam (gives delight to the mmds of accomplished ladies). The various varities of unguents for rubbmg the body explained

178

here are Rajavallabham86 Ratikaram,87 Anangasandipana88 & Vasantatilakam 89 These names might be assigned on the basis of the result they produce

Here the author instructs us to draw a table of 25 squares

where m 25 ingredients are placed m the following way.90 Pancaka

Kuta

Nall

Ekahgi

Tagara

Sailaja

Mura

Musta

Corapuspi

Mamsi

Bala

Usira

Tejavati

Nagakesara

Bola

Karcura

Latakasturi Vihani

Karpura

Pnyangu

Rohisa

Maruva

Patraka

Saumpha

Madana

The 5 substances taken from above m varied proportions91 are resultmg m 53,130 products.92 86 Plci

jPM

gsjftcFT I SJ&m

5r3T

cWT

I

dqtaq f|CTPigd

II GS 2-5-S&6

gZS teg I ST3rdwid«

T# ll Ibid2-5-7&8

88.cb-MMI^4i^H<£lcbld^q^KftcbH<£lSlllls I

^ cPR#T*Rf Pl#RT w^nft^TT^nr w

W II

FUri# fl^PT II

fcrf^RT I

Pigftd 3§STS II

z dfeg«wi q

i

^


Pmra

wwMk

foratetg ?Rg q g*if% g^Rifer ftw I d^Misd^H^Md

li n

Ibid 2-5-9 to 12

^dRldiqg'd^cKMddilPl

qiFrlfcid*

il Ibid 2-5-14

90.5F^[ f^T cpSgZ wrf%9llrr c&tZefi*T I Ibid 2-5-15 91.i?FIT° tgg sniciZdll^ qodSotidg^cilg I

Ibid 2-5-17

92 %TTS W^fHSKta igs g4%TT81 GS 2-5-19a (11=0, #=3, fg=l, 3lf^=3, 9K=5)

179

General combmations of ingredients for improving the complexion of the body given in this section are 1

Nilotpala, Sarapunkha, Candana, Kustha, Usira &Pannata Dadhi (sour curds) ore to

be mixed and rubbed 93 This formula is prescribed m Ayurvedic text also 94

2

Tila, Sarsapa, Haridra, Daruharidra, Durva, Gorocana & Kustha pounded in Ajamutra, & Takra , then to be rubbed 95

3

Canaka,Mayura,Kasaya,Laghupahcapatra, Gandhambu.Aguru.Srikhanda

&

Candramada This helps m removing the dirt from the body & gives

slimness 96 Kara udvartanam

•- This is an act of rubbing the hands each other with

aromatic substances after the meal This is also considered as an Upacara

for

m worship of gods

Hastaparisuddhih

Gangadhara

mentions the following items

(cleaning the hands) after meal

Dhyamaka, Tam ala, Ghana, Karuna, dehusked Yuvacurna Candramada, Bhadra

&

Sambara,Usira,

along with

Gandhajala,

Sriphala 97

93 dWlfld 9TC3M GS 2-5-19b &20a

94.Vide.

55-54.

95

II 3M3ddsbt^b6{ddd$H3MH

96.rJurcbH^9Wl^cb

im'm-A

3^

I GS 2-5-20 I

l

asfofPTRP&d

3^ 11 Ibid 2-5-2 lto23

97

I

II 3ddltft

BlQ'% ch^ciii

I GS 2-5-248e 25

180

6) Snanajalam ( Perfumed water for bathing ) Gangadhara proceeds to explain the scented water for bathmg with the following benediction -

Tipri^nter hh^iR 3^3 ^ 11 gs 2-6-1

Various substances were used as shampoos at the time of bathing The application of Henna (Mehandi) to the hairs, before taking bath is explained in following verse with poetic fancy-

WRcft #RT M3 f^T T

ftdT II GS 2-6-8

The application of Pathya(Haritaki) is also explained with the poetic charm as under : « th?H*Hi5%ic|cHr cbl^rTfMI I w

11 gs 2-6-9

Following is a hair wash which is fit for Kings-

te HFFT II GS 2-6-10

This compound is narrated m Bfhatsamhita

(77-5)

also. So Gangadhara

might have taken this compound from Brhatsamhita The other combinations for bathing Powders are . a) Ghana, Utpaladala, Cora, Suksmaila & Nakha are to be mixed m Campakamodagandha 98 98 to®

II

gs

2-6-11

181

b) Eight auspicious ingredients of bathing are Nata, Ghana, Gada, Vana, Suka, Nakha, Tamala & Bhrnga are to be taken in equal quantity 99

c) A Compound by name Sarvausadhi is mentioned are Gada(Kustha) Ghana,Kathma,Nisa(Haridra &Daruhandra)Vaca,Sathi,Danuja,Ginja & Siddhartha,

it removes poverty & gives auspiciousness 100 d) Another combmation by similar name is from Bhuta, Muraja, Gada, Ghana,Sinvasa,Sat i,Kathma & Nisadvaya 101

Usually, Snana is conducted for purifying the body It is also considered as an act of ritual practice. Accordmgly, Gangadhara prescribes following composition for bathing at the time of Solar & Lunar Eclipse ■ WtfckckiT^ - 3ld^Ml4KcbMlfag I TKfr

^

HFPT II GS II-6-15

Out of many products used as shampoos m hair washes, Dhatri occupies an important position Accordingly, he explains 3 varities of scented

Dhatri

powder

99

by

name

Madanamahotsavanamni ,102

I *RT

HFU II GS 2-6-12

100

1 II Ibid 2-6-13

101

1 hpr

102

fe?IT

ibid 2-6-13

RiRdd I HdAMIJJfc^dl

gsjfocn gRl^I

11 d 'tocWfa II Ibid 2-6-2&3

182

Bhupalamandhara103 85 Mohmi 104

Further a table is given m which 25 substances are mentioned for scenting Dhatn For this he instructs to draw a diagram 8s placing each of them m following way.105 Mamsi

Htrade

Patraka

Mura

Sati

Taja

Saumpha Rertuka Usira

Vtharta

Naga Gadivam Sthulaila kesara Kuta

Musta

Valaka

Ekangi Padmakc Silha Tagara Lagasa Tvtcapatn Nakha Elavalu Gampaka

Out of these 25 substances any five are to be taken106 Karpura, Candana

85

85

pierced in

Aguru then mixed with Dhatn 107

Then he explains one more method of scentmg Dhatn through an apparatus called Damaruyantra He says Dhatn pasted m Gandhodaka should be applied to the mner surface of upper vessel

85

should be

fumigated with Dhupanadravyas which are kept m lower vessel. Then

dTj^)i§iT ter ipjter

1

11 GS 2-6-4&5

104.^cbRH3>r|cb?i3TT WtfTiHi' Hcutel felteFTT,

I

c&Rfa fl

105 ..... M

II Ibid 2-6-6

I

c#r ....ll

Ibid2-6-17

106 ..............I Ibid 2-6-17 "N

i07.taft 41^1 trRfdT

1 Fn% TFffrT

ll Ibid 2-6-17b &18

183

Vasana of flowers is given Such aromatised Dhatri is fit for bathing 108

The explaination of hair-dye, being a part of Snanavidhi,is discussed next. Text gives a recipe 8s method of hair-dye m following way “

Kodrava grains have to be cooked in sour-gruel or vinegar in an

iron vessel, then one has to grind them well with iron dust 8s make it fine paste The grey-hatred man has to wash his hair with sour gruel

&

apply this paste to the head Then cover the head with green

leaves, remain for svc hours Thereafter he has to remove the paste from the head 8s apply a paste of Amalaka (myrobalan) Again he has to cover it with green leaves 8s retain it for another six hours. After that the hair should be washed,then the hair becomes black " 109 This reape resembles with the method explained m Brhatsamhita(77-2 & 3) 7) Jalavasa (Perfumed water for drinking) This section contains 3+11 verses, The narration of Jalavasa starts with the following verse :

i08JFsk3H flfirar

■\

sji#

rs,

_

-sv

__

.

GS 2-6-19&20

Irfi w

The description of swra explained m WOTJ14 (9-5-7) is as under

(The pictorial presentation of swra is given in appendix pic No 6 109-WH^i ^rFT

wm

ctenFlt I

^

dTWIRR g#dTS §vT^TcRJS ofMI IddS

§p>l^?l

Wg

II

II Ibid 2-6-21 to 24

184

% jpg ^8 II GS 2-7-1

The above verse mdirectly suggests the purity of water for drinking General method of preparing aromatised dnnking water is explained m the following waysnMs^pi topitM

*pi

pT gstor ii

cfcT§ qi%|cn#cfvl^r8 fWfdW

fttg 5pf# I

^M%f^tWI3ll

GS2-7-2&3

Further the author gives recipes for aromatised drinking waters like ' Tripuraharavallabham,110

Himakaram,*111 * Candrarasam,112

Abhinavavikasitapadmasamam,113 Navamadanam,114 Bhramarabhramasajnakam,115 & Bhramarakarsananamayam 116

110

'Mlfddd

I

cjmt

wftft II 111 cb^cbMcbWMcW^

GS 2-7B-1

^3i%ciT I ii

112.?dcl5cf^qtw

HRllcIcwBlcbleb^g |

wm rfFT

II Ibid 2-7B-3

113.9TT^I43W'&WfcRI qaiT

I

dlRldHf*H
II Ibid 2-7B-4

fM^RT 3lfild#HWH 115 cb'ltdH&m'IJcr

II Ibid 2-7B-5

5|2lf’l|flS^ I

ftifaddKI Fri^pl WWRIfRP 116

ibid 2-7B-2

Wftft II Ibid 2-7B-6 I

^rafrl Umi+^HWCT ijgsjraWo || Ibld 2-7B-7

185

Here he cautions us not to drink the water with the aroma of Jatikusuma as it makes one dumb 117 Then the text proceeds to enlist 12 substances m a table, the permutations 8s combinations of which can produce 1820 products as water perfumers.118 Haritaki

Priyangu

Naga kesara Suksmaila Marica kankola

Saumpha

Sati Lavanga Usira

Sthulaila

Kuta

Jaipatri

8) Lepas (Compounds of applications) This section contains 17 verses. The items coming under this section are various bodily applications Gandha is an important element of religious 8s social spheres of life As Gangadhara clearly states Gandha helps m Arcavidhi, he gives various compound aromas for Siva,119 Visnu120 85 Sakti121 Then a composition for all gods is given as 9|6KKU
II srafrT

117. ^r

ter te^diRidM 1

dtdlsUdlwj'H

MMitf dlRldlti^ld I GS 2-7B-9b & 10a

118. GS RT Vyas p 21 119

11 Tte

120

I Ibid 2-8&2a I Ibid 2-8-2b

121.3(RtT WIiMtWIfcll ^lebiRsboiiil^g | Ibid 2-8-3a

186

GS 2-8-3b&4a

The prescriptions for preparing a variety of Lepas explained in the text are as under a) Sundaralepa can be prepared by blending Candana, Aguru & Cancala in 2 1 Vi ratio along with Mada in Vi proportion & scenting it with the flowers 122 b) A scent called Samaroddipana (which aggravates passion) is prepared with equal quantities of Patra, Turuska.Bala

&

Tagara 123

c) The above ingredients along with Vyamaka fumigated with Katuka & Hmgu yield a scent named Bakula 124

d) The same ingredients with Kustha generates Utpalagandha125 (Lotus scent) & withCandana givesCampaka scent,126withJatijvak & Coriander produces Atimuktaka127(Jasmine) scent The compositions explained m b,c & d are replica of Brhatsamhita

(77-7)

Then the text explains a recipe which is fit for Kings.128

I GS 2-8-4b&5a 123

TF?To

124

I Ibid 2-8-6

cbdcbiB^MS^lPldS I Ibid 2-8-6a

125

........ I Ibid 2-8-6b

126............ ^

I Ibid 2-8-6b

127 ^dT^<«#d't5fd*J4d4> ^fcT

II Ibid 2-8-7

128

sCTId II ^

|

KHI#f

187

II Ibid 2-8-8b to 10a

The substances for preparing Varnaka (dyes) and Pa/ai/asa (perfumes for clothes) are given m a table form as under Candana Jaipatn Padmaka

129

Kankola Lavangatvak Jaiphale

Kuta

Silha

Tarja

Nakha

Indratvak Hirade Ela Khadyasa Mura Kunkuma Elavaluka Lavanga Nagakesara Aguru Sathivana Bola

Karpura

Sati

Mams 1

The author assures 53,130 products from the above ingredients, 5 mixed m varied proportions.130 The author proceeds to prescribe a powder for scenting the dresses He says " Take equal quantity of Tvak,Usira,Patra & Ela half of the earlier &

pound them together in to fine powder & mix with musk & camphor131 Brhatsamhita gives same prescription for Putavasa 132 The usual aromatismg materials mentioned for dresses are Sili, Nakha, Ela, Mada 8s Cancala Narration of a compound with poetic charm can be witnessed as under

^^

I

ctf

|| GS 2-8-16

i e Putt one part, Malaya Vi of it, Bola Vi of it, Naim 1 Vi of it, Darpa Vi of it, Camphor Vi of it;this mixture is to be used for Putavasa 129. GS RT Vyas p « 130. dPP^

Mowing

TTcf

1 GS 2-8-12

131. ^TkWfT%

f

H Ibid 2-8-14

132. BS-77-12 , the Editor of BS takes two variant readings as jpro denotes

(Vide BS p 710) 188

8b 4
An excellent Gandha product can be had from following substances toftd cfT clWJcP

| %g II GS 2-8-17

(9) Mrgaraja (Preparation of artificial musk) This section contains 2+10 verses Mrgaraja means an aromatic product (preferably musk) which is to be anointed m Summer 133 The author instructs us to grind it only with Silhaka134&,to keep away from water 133 He also advises to give Vasana of flowers 136 Thereafter he presents various brands like Madanasakhah137 Kandarpadarpadalanah138 Suramlaya,139 Mrgajit140 & Atiramana 141

(10) 0/?t7pa(aromatised fumes). Dhupa constitutes an important section in 2nd Prakarana.

This section starts with following benediction to Siva as under: qoqcR?fr

|

water m

n

gs

2-10-1

133. '3Hr^T WrfsRPT . ... I GS 2-9-lb 134.

.

I Ibid 2-9-la

135

g engcffe WHH I Ibid 2-9-2b

136 . . ..

I

137

...... II Ibid 2-9-2a I

II

dSJ ^ cBdcfigjg^dlRlrl'WddH tll^S I44^ 4
138

|

II

#l%8 g^®S5f§'4i|'dcilt§ I iRdilW ^jwfl

139 Hsfte sfh^^wiMsst ftslPfecRJ ^

eips I %km\ I

140

wfifr

II 2-9B-3&4

n 44fct glides II 2-9B-5&6

I W#

ifKRt

II

M ^TT ffrf^cf || Ibid 2-9B-7&8 141

ifeW fcRlflficIWTl W$\ ^RMS II Ibid 2-9B-9

189

(a)

Pmda

(balls) (b)Khanda (pieces) (c)Curna (powder)&(d)Vartih (Sticks)142

Pmdadhupa

is made by pounding the substances & then they are

rolled m to balls.

Khanda

is the mixture of substances made m to

pieces When the compounds are grinded & made m to powder, it is known as

Curna

termed as

If the compounds are sticked to a cloth, then it is

Varti143

The above classification is on the basis of form in which they are used Again he classifies the Dhupas on the basis of nature They are (1) Kasayadhupa (n) Ugradhupa (m) Saradhupa & (iv) Sitadhupa

144

(l) Kasayadhupa is one when the substances are mixed with Pahcarasa & Guda (n)

Ugradhupa

is made from Sarja,

145

Nakhi, Jatu, Kunduru & Guda 146

(m) The substances for Saradhupa are Gada, Nakha, Giri, Jatu, Pura.Aguru, Candana, Pathya, Sita, Ajya, Mamsi

which are penetrated with Mrgamada

&

Sasadharaf KarpOraj147

(iv) Sttadhupa consists ofBhadra, Aguru, Naga,

Nari, Vanara & Madhu

Capala, Vayasa & Pusparasa 148 _____ r

psf _ f

I42.iwg ^

^ng;i gs 2-10-13

143.faJ5S fqMsrs IptfcjftclTd WM81 11 ibid 2-19-14 144

w${

145 146

W

ll Ibid 2-10-13 cppfSjyg aM SISW^I Ibid 2-10-15a Sjqt

| Ibid 2-10-15b

1473

sjpre

i Ibid 2-10 16

sftcTS I Ibid 2-10-17

190

or Sri khanda,

The text also narrates one more variety of Dhupa which is termed as Naraca The ingredients are Kanta,Sarja,Nakhi,Taila,Candana, Aguru, Kesara, Sarkara 85 Madhu 149 The word "Naraca" means an arrow So this variety may be included m Sara variety of Dhupa General instructions regarding the Dhupa are also given He says jaggery & ghee are to be added for strong Dhupa, honey for mild 8s sugar for medium fume 8s the like.150 Then the author mentiones the best variety of Candana used for Dhupa m the following way dTd

did

I

dfrd

II GS 2-10-4b,5a

te.Candana grown on the bonk of Gandaki & Kausiki is best variety for Dhupa Further he instructs the quantity of Guda to be given m various seasons as under :

Rfcl% dlidFT §

I GS 2-10-7B &8a

The various names given for different combinations of Dhupas are Bhrngonmadavivardhana,151 Madanapataka,152 Daksmapavana153 & Candramoda 154 149

|

lSO.ddigdt 151

M^33
d^R^dl

153 154

4lRl%d g#

3%

4tH*4dt«wRras

HKMyffido II GS 2-10-18 1 fdftdt I

d2IS ....... II Ibid 2-10-2 SlfST^Rldt ?£T§ II GS 2-10-9

ita II Ibid 2-10-10

Iqqg || ibid 2-10-11 I^Rlcbdldl dp^NnUHl^

191

II Ibid 2-10-12

Gangadhara considers Dhupa as an important constituent m religious

spheres of life.155 Accordingly, he gives the combinations for Sivavallabhadhupa,156 Tripuraharanandaka,157 Gaunpriya,158 Dmesapriya159 Ganapatipnya160 Laksmivallabha161 Durgapnya162 Dhupas which please

respective gods The general combmation for all gods is -

Wfift II GS 2-10-50

The combinations explained for creating the passion are Kandarpadarpa

163

Ragasandoha

Smarakehrasayanakhyah

Kulavamtasiladhvamsi

164

165

&

166

155 4dHI

II Ibid 1-4

156

ftFTCwPit wftu II Ibid 2-10-19

I

1.57

II Ibid 2-10-20

wfiu II Ibid 2-10-21

158 ^dcb4^IW«c|^dw4cl^ipI^i UllW^cbdl^dl fit 159

I

160 ^ faHiqtKigh M

5tI?n#|rR%g II Ibid 2-10-22 l ^nfstaiisjTg

161 §Wlb4cH*ll#'4I^Wcfe<^^tRBd§ I ^qcb^dl *1941? 162

ii

Wfiu li Ibid 2-10-24

^ITI Ibid 2-10-25a

163

II ^Rds

sjqs

I ibid 2-1 o-33b& 34a

164 ^brd
tFRFqtes II Ibid 2-10-51

165 45fed4)tKHi4id'r
I wM^rmpsq?

mu 11 192

gs

ibid 2-10-23

2-io-39b & 40a

A special variety of Dhupa which is termed as Ko Gacchati (who goes ?) is beautifully narrated as under

^fSpHT

'MHIIcIrif^ci^

I

SjftddWSTM TOFT TO?##FZTcr dfdS II c£r Jl^lfcl

d«lccblJWfri^5lcbl

SJ*TSl GS II-10-35b to 37a

Some other compounds for various uses explained m the text are as under 1) For attracting or hypnotizing people, the Dhupa is <^SM9^ld^cb
TOT%dt TOJTcT II GS 2-10-49

n) For fumigatmg the house & clothes the followmg combination is recommended. dpFlt

I ^q^{§ II GS 2-10-56

ill) For fumigatmg the bed, the compound is *

SFdRRfta TOrfcT PftTHFrate II GS 2-10-57 iv)

For protecting pregnant women & children, the Dhupa is

’ifVns TOR TOFT TOTOTO8 cjrta II GS 2-10-58

193

v) To ward off the possession of evil spirits, following combination is prescribed -

sd^ns

ii gs 2-10-59

vi) For curing all types of fever

d4«4HI9T# SJCfg II GS 2-10-60

vn) For preventmg Mosquitoes, rats etc he prescribes ¥4w^'4l4dHHH6tcb<' gdtad I

^rriidch^d

3^n

FrpTOFETS

wfi°o

tf%cT8

II

^fitesq^pppri Riwfer Ndldhi

ter^TfqOTTddi 11 ^ %ld gSflRqg II GS 2-10-61,62 8s 63

The text further says that even an elephant can also be caught through following combination - q#tTpW3dgdJR81 WlgqddSJT8 II GS 2-10-64

Some general brands explained m this section are Tripuraharadasavallabha,167 Navavikasitapadmasodara,168 Kunkumagandha,169 167 ?<|R^Rg^«f<*wrgr|qdcbl.'ddddSs II IGS 2-10-27b&28a 168

I 4gqR^Rrl'gqt

qH^ldTgdlRrg

^rafrrl

f|w4t

Ibid2-10-28b 8s29a

^qsl Ibid 2-10-29b &30a

194

Tribhuvanasara,170

Manoharagandha,171

Kolahala,174 Malayamla,175

Santavidvesi,172

Nrpacittacora176 Nagayudha,177

Sudhakara,173 Vidyadhara178 &

Sarasvata 179

Some of these names might be assigned on the basis of the impact they create on human beings Varti (Incenses) Varti is m stick form & when it is lit through fire, it spreads incense

Tffe II

170

owners I GS 2-10-32b &33a 171

sfRlfsrf^ctg II | ibid 2-10-34b &35a

172

II I Ibid 2-10-37b &38a

173

I#fif$l41«$8 5CTTSf^8l 4I$c|,J^s|qg

174

pro)

Verier I Ibid 2-10-38b &39a

TO1FPT W MIWfH II ^qs

WPTI Ibid 2-10-40b &41a

#rlcp tefraf^qt 4^4TfTdt rfr I Ibid 2-10-4 lb &42a 176

^FPTcR cblcbHi^ || I Ibid 2-10-42b &43a

177 fit ^pngsjt

I Ibid 2-10-43b &44a

178 #4l^^^43frl4)H(£l4lJ|cblcb9I[Rl'HJ48 II HfjfcrR

Sjqg | Ibid 2-10-44b &45a

179 '4gt)443<.'JlP'r^'rl-=bti<4)l'Tll4
195

As said by Gangadhara, it is a form of Dhupa. Accordingly, the information regarding Vartis is m continuing part of Dhupa . Gangadhara instructs the preparation method of mcense sticks m the following way :

cRfcrs W1S II GS 2-10-65

Then he states the attractive nature of Incense sticks m a poetic way didTOcRd! JSSfERT f^dcbfeH^rlgcMIg I cfiFdT

^

^^

II GS 2-10-66

The various compounds for preparation Vartis like Mohmi180 Manasarahjanahamsi,181Vasantatilaka,182 Salmi,183 & Manavaka 184 Then he mentions 49 aromatic substances m 7x 7 columns & rows by combining of which m varied proportions give 8,59,00,584 products.185 180

45RIT

I GS 2-10-67

181 m W$l ^epr II Ibid 2-10-70 182 d^e1c|^M^lKc|M- ^MIcbWI5^4ld4
183 WI^IT §[ cfid<§

W

iff

WH cBFdT cteftg fdT 184

SJJPlfe II Ibid 2-10-74 |

185

|


II Ibid 2-10-75

U4^c|Rl4lJllg fd4^?Rlim4c|?r
means eight lmes(i e 7x7 table) <£4=4,
196

Aguru Oandana Devadaru Surabhi Valaka Vala

Musta

Kuta

Kunduru Sallaki

Ganthi

Vaca

V8H8

Talisa

Tamala

Rala

Jati

kankola

kosa

Saumphi

Mura

Laksa

Guggulu

Srivasa

Naga

Hirade

kesara

Jaiphala Padmaka Sthulaila

Nakha Suksmaili I Khadasa Asoka

Lavanga Saresa Damana Maruva Cora

Mamsi

Sailaja Kunkuma

Martea Sati

Silha

Maha

Karkata Candratvak

sugandha

(Gandha Pnyangu Lavatvak Elavaluka musta

Patraja

11) Dipavarti (Wicks for lamps) This section contains 12 verses They deal with the production of aromatic wicks for lighting lamps. Gangadhara says that one has to light the lamp at the time of worshippmg the Gods 85 opmes that the lighting for whole night gives many good results 186 The various names given for perfumed wicks are Oupacchandasika ,187 Vibudhasaukhyakari,188 Parimalaskandha,189 Prthvipatihrdayatosakari,190 186 c^TSTT 31WTS ^KlBlcbl W ^raf

4=1 HH I cjlcilMsWwKI II GS 2-11-11

187

I II Ibid 2-11-1

188

I

^Vnfdw 189

11 ibid 2-11-2 - fc)dd<-WcbbdciHcte I II

190

Ibid 2-11-3

1 y^ltil^dl dfis

II Ibid 2-11-4

197

Ripucchanda,191

Satpadamvahavasakarin/,192 Ratida 193

8s Manohara 194

In this context, he also refers to prepare scented oil for lighting lamp.195 12) Uddhulanam(Powder) This section contains 7+8 verses The section begins with following verse •

cHHMISRS

SRte

m II

GS 2-12-1

Here the word Pusparenu denotes the pollen of flowers. By using this word the author means to say that this section deals with aromatic powder. In the beginning he proceeds to explain the preparation of Bhasma 1 e. ash of cowdung which pleases Siva & can be used as medicme He says -

wfa i d^r ?p: mm ^

^Klfel

d^qiqf{ ^PT I GS 2-12-2 to 4a

191

1 n gs 2-11-7

192

1 cridftq

193 dd
trpicrr 11

q^Pidl dT I W cfrw cfer

194

ibid 2-11-8

II Ibid 2-11-9

^cfi^rfrs 1 q%*r*rqfcr 11 ibid 2-11-10

tfc f&g Slf^Rd

9lf$lfoS HqflifeiJ II Ibid 2-11-12

198

ii

He further explains the common procedure to be adopted m scentmg the Bhasma with the help of substances 196 Various brand names for different combinations of scented powders explained here are: Suvidagdhajanangavallabha,197 Kandarpavaijayanti198 Navavikasitakamalasodara,199 Varatarumratikara 200 These words indicate the luxurious status of the products. 13) Ntryasa (Extracts for mixing). This section contains 7 verses The substances mentioned for extraction of essences are Candana, Aguru, Nakha, Cancala, Sura, Surabhi, Jalada,Sallaki,Ravi,Bhadra,Aguru, Indu, Laksa, Eta, Nakha, Kola, Jala & Utpala These are to be taken m equal quantities & Sarja three times and mixed m oil

3^8

I

CRFTT9T 3

J GS 2-12-4b to 7

197 %r l

cfcfs^ 548 n

1§5T8

II

Ibid 2-12B-lto4

198 9JcMc|J|i

S£l4 I

41^4 M44FT 4FTT«n4 II

eras 433dT

qo#r#r§ l

44ft4.Rw
200

^8 || Ibid2-12B-8

199

8g jaggery,201this is to be kept m Nalikayantra202 8s the vapour is to be stored Some other methods are also explained for gettmg vapours.203 14) Syanda(Exudation) This section contains 22 verses 8s deal with extraction of essence from flowers The method of gettmg Syanda i.e. exudation is as under * Hantaki is to be pounded m Gandhodaka 8s dried in Sunlight: such powder is to be mixed with four parts of jaggary 86 Sigru , then boiled m mild fire 8c, then fumigated with Khadra, Karpura, Cancaia, KastUn, Jati, Kosa, Phala 8s Kola , then Vasana of fragrant flowers are to be given This becomes a very good Syanda 204

201

I STIPrMs - vTT^vn W\t

ddt

cfpjf

MdWgRldd

|

W\[°o

II

WrMs #8 II

cfcPJglf^cPJ | GS 2-13-1 to 3a

202.ftf§M Wl^jibW^lBlilk UlfWte II Ibid 2-13-3b The descnption of dTTd35F£PT in
OTSfRpf WS dPI jpl dW f^IT^r II ; rRTo I OTfM ddl *Pi drfl’SfiPJ

qapj

unit spffio

II

I MkcbirddH I

II 4-42 to 44 vide

p 55)

The pictonal form of dife
cfKWTS%r

RRMT8 II

Wt I ^dilW^If'Tl ta d# # WS II

3isidT steers ModiR{^Rt«4ii

l dxfeiT Rrafei

n GS 2-13-4bto7

204.TBJId.cbdRS|?t^flc1cbl

WdlRgdftwl ^?rf%rTT d

d?3 d tigi|u|i|gy^di dgvqfIrgtddfIdT 14^5^ WfdT

tpfe d

dsjjftdr

dps I

ddlfedT ?mDT8

Rnpdl

it1%

dtdtnpj II

#TT ddtS^ddFSFIT II

di#

II II GS2-I4-lto4

200

Another method is also explained m the succeeding part205 A royal compound by name Bhupatidayita is narrated next 206 Then the author gives a guideline to prerpare a Syanda of required aroma as under

cfxfcZJT F3R3T

II GS 2-14-11

Then continuing verses deal with collection of essence from flowers. It is termed as Kusumadidruti 207 15) Gandhasankramanam (Transmission of perfumes) Another interesting topic discussed m this section is Gandhasankramanam i.e. the process of transmission of perfumes This process suggests, at the beginning, to remove the original aromas of the substances by addmg some mgredients Later, the aroma of our choice can be added The process is as under .

GS 2-17-1&2

i

eras WZZ

I fa®

206.¥T?llfk^d¥^4Hdebln1Mdl^E!

207 f^jqtoflcr

Z^R

I

Mfttl

ll Ibid 2-14a-5 to 7

f^ts

§KI%

II

II

^ifcrar^r I ^ oidtflra m% cbra^i^idH I

n

ctat
stctto ii ll

l^ig^pNeJ |SrJ8 fRd||W II Ibid 2-14-12 to 15 An easy method of getting essence is also explained as under I tit ¥^5# cTT q^ffR^rnrafcr II Ibid 2-14-16

201

i e The pith of Kantaka & Karahja is to he pounded & stirred in water ,the aromatic flowers, in the first instance, have to be dipped & washed in this water, then they loose their original aroma Again these have to be sprinkled with the water containing Abhaya & Guda Then the required aroma is to be given (16)Krtrimadravyam (Artificial products) Preparation of artificial perfumery products indicates the alchemical knowledge of that period. Basically the art of conversion of lower products in to noble products is the subject-matter of Rasasastra. As there exists a direct link between Rasasastra and Gandhasastra, the manufacturers of perfumes might have taken these ideas from Rasasastra Accordingly, Gandhasara explains the preparation of artificial perfumery products The text prescribes two methods for preparing the artificial camphor208 & perfumed Kunkuma 209 Even the conversion method of Nimbataru m to Aguru is also mentioned 208.(l)

(n)$wiKu
SRTIiauScl&ar I

5

209.Spi

eB$M*wRlr II

f^rs itei

^

210

?trfwcT

11

=nPT I GS 2-16-1, 2 & 3a

g&T cbMMeMAI ^ II ^I'SKU^fel^dHR'H

II

^PT

II

'4=^1 H Ibid 2-16-14b to 17a

210.PpddbUK
^ifad 'TlfrM II Ibid 2-16-29

202

17) Dravyamelanaprakarah (Blending method of aromatic substances) •The information on blending method of perfumery ingredients is noteworthy As this knowledge is very much

essential for a

manufacturer & it requires the artistic skill, Gangadhara informs us to adhere to the tradition of experts m Gandhasastra m this regard 211 Finally, Gangadhara concludes II Prakarana with the following verse .

I

¥1

% Tpsj qtupkf FTTcf

II GS 2-17-5

i e In this manner the person who applies the perfumes, after knowing the svcprocesses, testing & purification etc becomes recipient ofprosperity, liberation 8s glory in the world 3.3 Third Prakarana Third Prakarana ofGandhasara is termed as Dravyamghantustatpariksa ca l e glossary of aromatic substances 8s testing their genumeness The author starts this section with the following benediction -

5Ppfrg p%s$s i n gs 3-1

qtferr pTfcpn

Gangadhara declares that one has to comprehend the glossary first 8s know the genuineness of substances 8s then only use them m manufacturing.212 211 212

GS.2-17-4 w

iqwT wim qftenfq c#r

203

n ibid 3-2

At the outset he admits that it is not possible to understand the glossary fully like ocean 213 Then, Gangadhara proceeds to give synomys to the substances & classifies them m to several groups on the basis of aroma mhabitated m their section They are 1) Talisapatra, Jhula,Pamakarpura,Pratapa, Damana, Murva or MarOva & Tulasi these substances are coming under Patravarga as the leaves of these plants are used in manufacturing the aromatic products

2) Lavanga, Kunkuma, Kesara, Ketaki, Kadamba, Bakula, Surapunnaga.Satapuspa, Malati, Jai, Madhavi, Kunda, Mucukundah, Campaka, Surapuspi.Priyangu & Sephali are coming under Puspavarga, as the flowers of the above are used in manufacture

3) Marica,Kankdla,SOksmaila, Sthulaila, Jaiphala, Penuka, Haritaki, Amalaki, Latakasturi,Corapuspi,Saumpha,Dhaniya, Vihani, Sandilya, Snphala & Saresi are coming under Phalavarga The fruits of the said products are being used in aromatic Industry

4) Karpuratvak,Taja,Lavangatvak,Tailavaluka,Elavaluka, Nah.Kharjurakosa, Asokatvak & Lagatuh are grouped in Tvagvarga as the bark is used in manufacturing

5) Candana, Aguru, Paktacandana,Devadaru,Mahjistha & Iksu are grouped in Kasthavarga as the stick or the wood is used in aromatic preparations

213 313 fonj

SFTSI *e|ci|e|$|<|tf

cpz^r II GS 3-3 204

6) Kuna, Puskaramula, Bhadramusta, Gandhamusta, Mahasugandha, Ganthivana, Thunera, Vala, Usira, Lamajjaka, Jatamamsi & Karcura are listed in Mulavarga as the roots of the above are used 7) Karpurah, Silharasah.Bola, Guggulu.Srivasa, Sarala.Rala & Sarkara are grouped in Niryasavarga as the essence in the form of vapour is used 8) Kasturi, Sayala, Nakhi, Ghrta, Madhu, Mayana, Laksa & Vamsalocana are grouped in Jivavarga These are products of animals The above mformation helps m identifying the different names of some substances m order to select them m production. It also helps as a guide m the selection of plant parts to be used m aromatic Industry The author then states how these materials are to be examined before they are used for manufacture. For this, he describes their natural appearance, smell, taste,colour & other characteristics 214 Further the author instructs us that the aromas of the substances may deteriorate m quality due to their exposure to nature (water,^wind,fire etc), insects & with the passage of time 215 The author finally declares that he continuously observed the ancient texts on perfumery 8s collected the information 8s written it m a condensed form 216 214 The entire text of third Prakarana which includes the synonyms &

classification of plants is given m Appendix no 3 215

I W ^

mtd |*M%P#JplcTcT tPp

?|W1S il GS 3-118

ipq

fMcPT II Ibid 3-119

205

In the concluding verse Gangadhara points out two things about his work. 1) This book is Vararajarha i e deserving the attention of the best among

kings who are connoisseurs & whose tastes, regarding various worldly enjoyments, are refined n) This work is Ghanasarajus i e Compact, as it deals only with essential

themes relating to the subject avoiding irrelevant topics & unnecessary repetition 217 We can also infer that the author is a votary of Siva as he dedicates the work to him, the spouse of Parvati This is also corroborated by the Mangalaslokas of three Prakaranas After this concludmg verse i.e. Manglasloka, the following table is found which may be related to l/ah/(mcense sticks) section 218

Vartih Padma

Parvata

PutrJ

Devi

Yukta

Sajjana

Rakta

Viddha

Bhisana

Kesi

Canda

Viddha Prokta Vallabha

Sakta

Suddha

Gauri

Candra Kanta

217 STg^TT TRimW tffadT Ml'WtofdS II Ibid 3-120

218 GS R T Vyas p

206

Observation The text Gandhasara is a rare treatise on Cosmetics 85 Perfumery A glance over the subject matter of the text clearly gives a conclusion that the author Gangadhara has rightly quoted that Gandhasastra as Durgama(difficult to comprehend), Viprakirna(scattered m nature) 85 Vitata(Extensive m scope) It also justifies the statement of Gangadhara that he is a koV/da (Expert m science of Cosmetics & Perfumery) It is said by the author that he has compiled this treatise by gathering materials from several sources. The statements like Sangrhya Vakyairvyadhat 8g Granthantarat etc prove this Accordmgly, we can observe that many verses are taken directly from Brhatsamhita of Varahamihira. For instance, Section 6 of second Prakarana contains a verse on Snanadravyas It reads •

te FTFPT

II GS 2-6-10

This verse is taken verbatim from Brhatsamhita (76-5) More over the verses on hair-dye(GS 2-6-21 to 24), tooth sties (2-2-2 to 4) are influenced by Brhatsamhita (vide BS 77- 2 to 4 8s 77- 31 to 34). Even the methodology of different combinations, giving rise to several kinds of mcenses, is also borrowed from Varahamihira.219 219 Brhatsamhita mentions I'chchHcb'JTFT

I 9SFR1CR

^tk^iwTiid

II

11 BS77-18&19

Gandhasara says 3^

I

91^4 11

wqw §k#r W^l Ftfeug fwplfe

207

II GS2-19-42&43

So far the technical processes are concerned, Gangadhara is influenced by Visnudharmottarapurana & Agmpurana These two Puranas mention eight processes of manufacturing ,220 whereas, these eight processes are condensed to six m Gandhasara221 "

The verses regarding the classification of substances based upon

their nature might be influenced by Ratnaprabha, a commentary of Niscalakara on Cakrapanidatta's Cikitsasangraha" says R T Vyas 222 But Gangadhara does not mention any work or any author by name. In one or two places he merely states Granthantarat So it seems that this treatise on Gandhasastra is meant as a manual or hand book mainly for the manufacturers of Cosmetics 85 Perfumery. 220 (1) VDP says : =TRFT tw flttW W fcftrFPT | WIT 3RH

fH cf«TT li

cCTfecfcfe prri VDP 64-1-2

(u)AP narrates

m cfRR

rf

|

SJTT
cbHfecbPte ffPT II AP 224-20,21

221 w m

M

1^ ^

222 Vide GSGV

R T Vyas p 12

The commentator

11

gs

1-

6

flourished m the year 1120 A D So he is

prior to Trpyr fetus's commentary states PftWflftfccR 1 W W cWT m

II

m9Iprr qif^rfrT 4MHT

3cR?r

Iw w

Bpit ^ II n GSGV R T Vyas p 12

7TfTtR explains more or less similarly as under U EfoErrf^r ft^rii#r§racig i

m §Rp#lPfc#r 9TT^rat

351% wmswcr gts 11

1 ?Tf5sr

§P4rf 11

I'SJUIwIT *FSRjfq?T *T8 j^cF ^ ¥ 4^Iqf II GS 1-69,70,62

208

The Sanskrit Technical Terminology given m first Prakarana of Gandhasara regarding the processing system of substances may not be of much interesting to a common or lay man Yet the information is noteworthy to an Industrialist and informative from the view pomt of the development of practices prevelent at the period of Gangadhara. The second Prakarana is the central & most important part of the work It deals with almost all the articles of Cosmetics & Perfumery at great length

The tabular presentation facilitates easy

comprehension of the subject Dr P K.Gode says that the tabular presentation helps the actual manufacturing of Perfumes He is also of the opmion that they provide an opportunity to understand their exact significance & compare these proportions with those now m practice 223 An important point to be noted here is that they not only add cosmetic beauty, but have therapautic values too A remarkable feature of this section is witnessed m Dhupas i.e. incenses Varied types of recipes are given for manifold uses like hypnotize people, protection of pregnant women & child, exorcizing evil spirits & ghouls, curing of all types of fever, keepmg off reptiles, flies, bugs,worms & even for captivation of elephants. These details are more relavant as some of them can be used even today So this information may open the horizons for new line of products 223 SICH-Vol I

P K Gode p 49

209

The subject-matter of third Prakarana is characterised by classification of various substances m different Vargas This classification is accordmg to their aromatic properties inhabited This helps as a supplement to the matter presented m earlier Prakaranas The synonyms of the substances facilitate m their selection & usage in the preparation of articles of Cosmetics & Perfumery. It is mterestmg to note that though many ingredients are mentioned as Gandhadravyas, we do not come across with the flower 'Rose'. Dr.P.K.Gode says that the use of Rose m the manufacturing of Perfumery is mtroduced very late m India i.e. m the latter half of 18th century A D 224 The contribution of Nighantu i.e.glossanes for the survival of literature is remarkable

Even the ancient Indian medical literature have the

glossaries which record classified lists of medical & botanical terms In these glossaries we find a record of many aromatic ingredients used m manufacture of Ayurvedik products. Whereas, the credit of compiling a glossary entirely devoted to the aromatic substances(Gandhadravya)goes to Gangadhara He also informs us how to examine & use the several aromatic ingredients m the manufacture of Cosmetics & Perfumes The eight fold classification viz Patravarga.Puspavarga etc.of aromatic ingredients is sufficiently mformative & can be compared with modern standards. 224 SICH-Vol I P K Gode p 39

210

To put in the words of Dr P K.Gode"Gangadhara's treatise is an attempt to systematise in a compact form the theory & practice of Gandhasastra developed in India through centuries of Indian political & social history" 225 R.T.Vyas says "Gandhasara stands out be a remarkable technical & literary attempt of wider appeal & interest The Gandhasara is the pioneering and the only extent sansknt work on important technical subject1,226 Intoto, Gangadhara has successfully attempted m the present text to systematize this branch of knowledge for the benefit of society

225 Ibid.p 8 226 GSGV R T Vyas pp.73&74

211

IV Chapter

Gandhavada of an unknown author

4.1 P/sfa/ca(aromatic paste) 4.2 Kasaturipariksa (Testing of musk) 4.3 Kastunkaram (preparation of musk) 4.4 Karpurakaram (Preparation of Camphor) 4.5 Javadtci Karam (Preparation of Javadi) 4.6 Kacaulyataila(& variety of oil) 4.7 Buka (fragrant powder) 4.8 Gandharaja (Aromatic Unguents) 4.9 Sugandhataila(Scented Oil) 4.10 Dhupaci Karam (Dhupas or incenses) 4.11 Vartih (Incense sticks) 4.12 Vap (Mouth odorant pill) Udabati (Agarabattis).

Observations. Comparative studies on Gandhasara & Gandhavada

:

,

,i

■

>?,

/ jssrrt&

«,&£

it

-

*v

s

: c*T; '

r

-

: ■

••?£'£ *::

’

f ,;

.v ,

. < ,N’ !u’

s

\ ? ;*

Folio 27a of the MS of Gandhasara from where the Second work Gandhavada begins

,

-

-

■

•

4

;

« «*$J1'“dW»?v» .% v

IV Chapter

Gandhavada of an Unknown Author ^ An Estimate In the previous chapter, mention was made about the identification of two rare texts on Cosmetics 8b Perfumery m a two-m-one manuscript by Dr P.K Gode from Raddi Collection of BORI Poona. As pomted earlier, these two works on Gandhasastra 1 e Cosmetics 8b Perfumery are Gandhasara of Gangadhara and Gandhavada of an unknown author Dr.P.K.Gode says that the Folios 1 to 27a of the two-m-one manuscript comprise of Gandhasara and Folios 27b to 49 comprise of Gandhavada with Marathi commentary of an anonymous author 1 Dr.Ramaknshna T Vyas,Director of Oriental Institute Vadodara has edited the text of the manuscript 8s published it from Gaekwad's Oriental Series m 1989. The title of the publication is Gangadhara Pranitah Gandhasarah,Ajnatalekhakaviracitasca Gandhavadah(MarathlTika Sameta).The textual details of Gandhasara of Gangadhara are already discussed m previous chapter In this chapter, Gandhavada of an unknown author is taken for discussion This text is also technical m nature like Gandhasara , whereas, here an attempt is made to review the text from descriptive perspective Date 8b Contents : The probable date of this text Gandhavada lies between 1530 A D to 1550 A D accordmg to Dr P.K Gode 2 Sri R T Vyas assigns the date between 1250 to 1300 AD3 1 SICH-Vol I

P K Gode p 43

2 SICH-Vol I P K.Gode 3 GSGV

p 52

R T Vyas p 73

212

The text Gandhavada does not have any division as chapters and the like, but titles are found on the basis of subject or content for the sections like(l)P/sfa/ca(Aromatic paste) (2) Kasaturipanksa(Testmg of musk) (3)Kasturikarani (Preparation of musk) (4) Ka/pura/caran/(Manufacture of

camphor) (5)Javadici Karani(Preparation of Javadi) (6)Kacaulyataila{Variety of oil) (7) Buka (Fragrant powder) (8)Gandharaja (Aromatic unguents) {9)Sugandhataila(Scented oil) (10)Dhupacikarani (Discussions on Dhupas)

(11) Vartih (Incense sticks) (l2)Vati (Mouth odorant pill) A seperate section on Udabati (Agarabattis) is also found without Sanskrit verses The text Gandhavada is divided into 93 sections or units Structure Generally, the contents of Gandhavada appear in a form of Sanskrit verses immidiatly followed by a Marathi commentary But m some places Hindi Doha mode is adopted mstead of verses 4 Moreover the sections

17,18,24 to 43,59 to 76,80 8s 86 to 93 are having only Marathi commentary & section 82 has a smgle Sanskrit verse without commentaiy A Glance over the contents • The text Gandhavada begins with following verse

vTcTT

c|dd*)ftdl

II

GV

1

The meaning of this verse cannot be accurately understood as some of words are not clear. 4 GSGV

R.T Vyas p 73 213

Then the author proceeds to salute Visnu as Haraye Namah The name of the text is given m Marathi as Gandhavadu and Marathi commentary is called Tika 4.1 Pistaka{aromatic paste) At the outset, the author explains the preparation details of an unguent called Manmathodayapistaka

As the name suggests it may be

a paste of aphrodisiac m nature The text says that this product is fit to please gods & kings.5 Therefore it is also termed as Mahasugandha 6 The substances used for this Manmathodaya Pistaka are - Gandha (Srikhanda) Krsnaguru, Jati, Mamsi, Sailaja, Talisa, Usira, Satapatra, Campa, Jalada, Lobana, Gandhala, Sati, Nakha, Saruva, Ambara, Tvak, Ela, Lavanga & Kostha 7 8 Here the substance Ambara 8 which is mentioned as an ingredient for the preparation of Manmathodayapistaka draws special attention. Based on research study, Dr.P K.Gode opmes that the product Ambara i.e ambergris is introduced m India probably by Arabs m the 8th century A.D 9 Then the author proceeds to give recipes for several varieties of products along with the quantitative ratios of the ingredients. For 5 T1TOT

$er4lnf

I GV to# iter p 52

6 Ibid p 52 ^illrtchlbJchH II

^MMdPlcI FFT

II

II

W tfcifoq <#£ tff&TSHWI I Brarc qpppsq praoq 8 PI

II

msm I GV Sec 1

GV Sec 1-3

9 SICH-Vol I DrPK Gode p 14

214

II

instance, he mentions a composition which is fit for kings & capable enough m attracting ladies & other people 10 Another composition by name Kamimjanamohanapistaka is prescribed by taking Karcura 85 Lavanga 12 units, Brahmi, Bakula 85 Jatamamsi 8s Babari 8 units, Tagara, Tali, Chalfra, Havana, Maru, Nisa 8c daruhandra 4 units, Campaka.Punnaga Patraja 85 Kostha 2 units ; to be mixed 85 filtered m cloth, then Vasana of flowers & musk, Puti are to be given *11 A composition, as a tension reliver, is narrated m the succeding section which is as under . ifcpp WT I

W TO mi

WP R 4
I

TO^™- dSITII

3RFC TO IRZ TOW tR #c!H TOTFTO II #t|cb^4cH*f 1 mm to

^RlfeWIFt wn SRgRch" Wh I
11 TO
m4W W -HdtctlM Pi4K4d II GV Sec 4

i e Candana & Aguru each eight units, Karcura & Putt, each one unit, Nakha, Brahmi & Jatamamsi each 12 units, Ganthivana 9 units, Gahvala 6, Sevanti 6, Musta 6, Karcura 6, Ambara 6, Lobana 9, Taja 4, Ela 4, Kostha 4 units 10

^iprf^TT TO I 50# w to igg 1 cpfr§


4 wtj

TOR 11

iWsw Brtc

1

^4 II to srormPTO; 11

to*#^

RTO w Rririmfr to 11 tomiRito^ 3 tom ^ witewiuiwan 11

TOM ^ teT I

irTO; I

W WT W TO[ SR?RlPl=^[ I WT^fr

W

0#K3U||H4TO PTO^ImPH ?PW

felts

215

te

IPffl li

TO 414^^ 11

I cjfe^T STOW BmTT

TO1! TOf^fR ^rPtorre l wfrRpfc

GV Sec 2

citTOPldH II

11 ibid 3

are to be mixed and Bhavana of Kastun & Putt to be given This combination is fit for tension relieving for kings A recipe attributed to Mumsvara occupies section 5 of the Gandhavada 12 Similarly Trailokyavijaya Buka13 Vasudevayojita14 Devadurlabha15 Madanodaya16 Ripunanvasyam17 are the names given for some compounds.

I toft

12

3*qr toT toigqw qro wMtef cjqfe

3

n to 4q%fqqqq 4i4W5im

toqqlr

qPiq

4T fMifem qqriGvsecs

At the end of eter of this section he quotes p 13

4 ^Zlto»sto

444

%4I Vide

qz | 4WT5ft

GV p 55

WTlPePT I!

51444454 I qidr^toft

#414 3445T44I li

34f5TS 4#ft4 Wt g4I4T qWcbH 1^ 5R§TOM 44T 4 3^14454 II dbldtoqq 4 3445ims 913S 54 qz I44|T qqSTFPq 44=P4# yqqRT

I ^fto

14 #pshiwci#t

#% ^ZHcl^dH I

p^|qto i quor 4 ^wt

HWHcb 4*41 4T#4

tototol II

Eg4M45»T I

GV Sec 6

tow h

405%! ?TM 5TZ5I45I4ft II

4d£dOq<5ll4
Sto 4 43§43§ I tpfedto 4 fWTT 4MT dd£4H II 3*F4

I Ibid Sec 8

16.cf>T£9ldqdcbl'J|l ^qq^qqSTPto 45T54 14fef%4TWIT4dFTT 5TM

4^54 II

44 4354*44 fto 4^1 4to 44 4pF[ 13113434 434 3%4 5TT4 44 4445gjft 41% II 4*411*44 41444 43*45 454jft45ltod 511441441 *#444

4444454

17 f^I44fttoSc%

45^4414

454514444)

41# 44f ddl^lto to

totosq II Ibid Sec 9

4I44f44T4T I 3*414444454144 qi^HHI 3445445434 II

to’JS445lq%^l34qqfl4T ZOdlltoT 5TM 3#£4 £14144 II

q5*3toqrfto%4 404 4#T dfitod 41 4414 citogsMl #4441*4

£f=n£4543 II GV Sec 12

216

4 2 Kasaturipanksa (Testing of genuineness of Musk) • Section 13 of the text explains the qualities of original musk m the following way dT

d cT^cT dfrt dto tort

rt toT cfiddf HR'd^vHI toT tooTT d I dT dlfd

WRIT |cTT9t

m gsr tort cK^MHdi wto tor n

gv

sec 13-1

1 e The best musk which bears the sweet smell ofKetaki and yellowish in colour, pungent or bitter in taste, very light if weighed & sticky when pressed & rubbed, if burnt it does not reduce to ashes, but creates a peculiar sound, finally it emitts the odour of burnt leather It is auspicious & suited for Kings This verse is found m Bhaisajyaratnavali also. By observing this similarity, Dr R.T Vyas says that the author of Gandhavada is indebted to the author of Bhaisajyaratnavali & proves that the author of Gandhavada is to be dated after 1200 AD18 Section 14 of the text gives the method of testing artificial musk m the following way cb
wrtdT

31^

gto d^tosr dT9T torsi rtrr dft drt rto tom d rtcf ^idiRrs extort tors n gv sec 14 18 GSGV R T Vyas p 56 vide fn

217

i e. One has to take some water in hand & dip musk in it for some time, if it becomes reddish & the water becomes yellowish, when burnt it creates sound , this is not an original musk , but artificial 4.3 Kastunkaram(preparation of musk): Next section deals with the procedure of manufacturing the musk from alternative sources m the following way -

li rnwt FfTd

WFT I

’fRTter

II GV Sec 15

i.e Take Bhrngarajarasa, Mamsi, Srikhanda, Raktacandana, Jati, Lavanga, Kankola, Granthiparnaka & Putt & pound unthAjamutra i e. goat’s urine , then Putapaka ofKetaki is to be given This becomes a musk Further the author mentions another method of preparing the musk wherein she-buffalo’s urine is used mstead of goat’s urine 19 The mention of Ajamutra (goat's urine) m one method & Mahisimutra (She-buffalo's Urine) m another method shows that different results would be obtained through different combinations It also throws light on the bio-chemical knowledge of that period. The words like Rajayogyabhavenmrgi(sec 16-3) speak of the quality of the product 19 focMMcMdlR W 5?ctt

I

^

I ftq^ II

GV Sec 16

218

n

Similar ideas of preparing the musk from alternative sources are mentioned m an alchemical text Rasaratnakara of 13th century AD20 As there was close affinity between Rasasastra & Gandhasastra, the supernatural ideas of Rasasastra might have taken place m Gandhasastra also. Section 17 again deals with the preparation of musk & section 18 contains the information on production of Silarasa But both the sections do not have Sanskrit verses ,only Marathi Tika is seen. 4.4 Karpurakaram (Preparation of Camphor) Section 19 of the text Gandhavada deals with production of Karpura The name given for final product is Udayabhaskara21 In this process, an apparatus called Dolayantra is mentioned 4.5 Javadici Karan/ (Preparation of Javadi) :Javadi is a scented paste or powder Section 20 of Gandhavada deals with preparation of Javadi. This can be used for scentmg the water The prescription is as under jut m

fcm

w cm m EraspM Wm I

qf^ErrT

m

f#^TOHTII

GVSec20-l

Further the text mentions 2-3 vanties of Javadi by name

20

21

BffeWJS 19-104 to 114

ftRcwemfcid't l f¥tm t«WM4cb[ I

w ffw w 219

n n gv sec 19

Surendramrmita22 & Devadanavadurlabha 23 Similar practises of Javadi preparation found m Rasaratnakara, an alchemical text of contemporary period 24 4.6_Kacaulyataila{a. variety of oil) Section 22 deals with an aromatic oil is known as Kacaulyataila 25 The result of this Taila explained m the text is : mwt vrg

n gv sec 22-4b

Attractive, relieffrom tensions, gives comfort to the mind & attract even the wife of the King 22 Sr|Kta«|

^ TOSFTTl

=bx|C)4c|eb

II

PFW P

II

^

ii

drlfa

mwm dmto

t|ufijcfu| flM

I ''fiScftWMFT

mtm IP

PTTST

23 p

I

cto

I

RTOSTOfW'

^l'€||q

sprf

^fr

”\

yoq; §tt4 w feifag I

tR^TfcRW dl^l^d f^pqi1r|d»T I ^ ^fevriidlR

*s

II

^^n

c^stl% sRdfTcW I

24RSR

p II GV Sec 20-2to7

RlfeM ’JSRR ^ II ^ §TM w

•\

fifai

ii

^dPtl^d

W %Sf pr T^lpIT ^ir 5R3T§nwi

#^f II

ftdclrt ^RpqRPT II

WZ. *K

I

II ^TCH^N*! II Ibid Sec 21-lto7

19-97tol03

25 tm gT*Rcb‘M<) w Rpr #fn

ip# wk

csim?rpt

Wife ^PRFI f|4ddl STFTM *KM|c& Rlftlcr pRfid! dOFflfel gfenFT I d'^^rf fasjPI I%fd'dl4il#^cl«[ fl^RT II

g^T del

II

cfira-pR% RFTlfW

II

GV Sec 22-lto4a

220

wm rm wg n

Section 23 gives one more recipe for Kacataila.26 The reason for the designation Kacataila is not known The author states that these products have many medicinal & other benefits which are listed as under cRT

3RcJ#l5q(l ftrctfePT trefoil

%

mm w

cmmWRi ii

gv

sec 22-6

1 e fit for Kings, attracts the people, removes Angadaha (burning sensation of the body), & Sirodaha( burning sensation of the head), Sirovibhrama & Pittaddsahara, Kusthahara & Kandupida Nivaranam (cure for Itching) 4.7 Buka (fragrant powder) Then, from section 24 to 43 the author gives many compounds along with their measures under the name Buka for which no sansknt verses are referred to,only Marathi commentary is found. Buka is a fragrant powder black or red m colour to be applied on the forehead on special occasions like religious discources Javadi is used for preparing Buka.

26

I TO dHHcM

ssgrawc tot

II

wr wt% WFRi n

'JKRRPT 3^ *T rrcB5T

I 9TFT

WMdeb fWI II gipFTTSHg II

I

ii

vwMM %

ftei ^

km mz *r

tjsr *r

cpj|4tei oqqt# ii Gvsec23-ito5

221

to

ii -

2ter)

There is a reference to the King Bhoja m the 45th section 85 in his name a preparation of Javadi is mentioned as Bhojarajakrta Javadi,27 Dr P.K Gode referring to this says that the king mentioned here must be a king Bhoja of Dharanagara 28 4.8 Gandharaja (Aromatic Unguents) Section 49 explains the method of preparaion of Gandharaja from Gandhataila Here, the author gives a compound which is supposed

to be prepared by Brhaspati(Guru) having the quality of pleasing gods 8s attracting kings.29

27 'HWM<£d'Ji4iR

GV

<#4?T 4

p 70

The details are as under

44% 4^54^1 f&44 4*54 %4 3ft# W91FI454 II cR4 %T4^|cbH I ^4441%

cMSSScOB

#5

444T 449IFT 4

m f%

gf%T

mi

44§TF4 3«J4j 4411 44T

4% ^f4f 4^434454 11

45I4Tl#4T4

§TTO4%I #4Rfl4$p9TF4

4cJ83IM

13454 4*4jiil%gi44 sift 30^414 448

3q43iiqgl%4T II 4 3%54 II

4T4 13454 ^4ii%3 11

4T4TI OTfrg ^4lR ^8 %##I4T II

28 SICH-Vol I Dr P K Gode p 52 29

4 4H5TFT 4 #4454 I %T 4FK#i^

dm

##5Tfgtjn? %I4?IS441 #4T4SSW# 4

4gg4B% 4^ II gWIMd

S4^ II

fefMT 4tf44ilft 44* 4 444441 4
^444##f %4 45T5TFT 4MM4>4 ||

3454 41% %

fRcldm 4 fe44 ^lfai^4454 II

4R4TT

44141% I

4F# 4IM 4 344TI cPJ# 41445

M

% 4141444453 II

3T#4Fi 4 4#54 ?4c#tf%f%4 I 4% 4R4#4 f44T4 § 4144^ II *F4RI4 % MI48 %4T4T % §#4§ I

JtT cl 3#44FT 44454 44^448 II GV Sec 49-lto8

222

Here an apparatus called

Patalayantra

is mentioned 30 The quality

of product is assured through the words like Devanam &

Caiva Durlabhah

etc

Rajavasyam

Some other compounds by name 30 rFJ# ^1^

Bhupalavallabha31 Vasantakusumakara32

cW mdldd-dcbd I GV Sec 49-6

The details of Mididd-d is are as under te

mmm q qtf f^T sratqqg Idte wm q ~mm q sfdTS^r q sKMcfigig#

m q?f$ wt q^qter q

mm

I

fesi^r

Middled n

f^u fq

dw§

H

frqqr

ii

^qipftq qfgfg;i qsqrg dOTdWRq m gqqT tetg n

cRWf q

i MldMHsqPk

mt

SF^qT Wlftcf tqqg !i

(
i e In the underground cavity, measuring about oneHasta, a vesel is kept Substance to be processed ts kept in another vessel It is covered with a fitting lid which has a hole in the centre. R is put upside down on the first vessel and the joint of their mouth is sealed tightly. The cavity is filled up with earth The apparatus is heated from above This apparatus is known as Patalayantra Due to heat, the oily substance in the porous earthem vessel gets melted & the oily part gets trickled down in the lower vessel This apparatus is used to extract the oilfrom the herbs which contain oils The Picture is given in Appendix picture no 8

m m ^ cteTT q

31 qte WH q qw qitelq q I

qq S9T II

ter qR!c& f^Fsr ter fq qsqcpr i irft q wk m terT w ^ mm n

gq^r

Hddte

I

q^rm teq§ q tnter tegi

jrnT q fter teq q 32

qiqrntfte q

mm

tare qfM

trtewq

qeisqg I

qterq

q cpt qqq Mdsqq I gqqj

m\

q %frqr qq$im

telte

fif

ftepi

ter I fit ite

fffiqr q-^dd 1 te

s^tft

qqg

^ qqqg

ter ^r

mm

ii ii

i gv so-itos wrsm

ii

flte w qwrq

ii

q te q wtei q2t ii l

Iciftte

I tr^fT teFIFIT

223

mm

teraqq

ii

TOW q II Ibid 51-lto5

Rajamanohara33 Kandarpakolahala34 8s Kaminimohana(Manimmanabhanjanam)3S are mentioned Among these, it is said that the Vasantakusumakara branded Gandharaja is remedy for Vataroga 36 4.9 Sugandhataila(Scented Oil) Section 55 onwards we come across with the details of manufacturing of scented oils. The names assigned to the final products are Madanakamesvara or Kamesamoditam,37 Janankusam38 33

tot tor tom

9TM

TO %r w

i tom

ftow toiwr n

I

SPIT I

ttcf qz

IH9TTW I #IR 9IM atotof I IF!

34 to

II

to ]i

TIH

II

GV Sec 52-lto4

to igqrr #i^r ftor i% to hit ton tori to4 ii

ton itototomij trtt Tin

totor ^ to 3% 11

^

to n tor 3ft toto' totoi^w

ton totogrpji Ibid Sec 53-lto3

35 ITT

tot toftT fto ^gaicT I ’Tgtoto I

vjIMWcbH II

«rs?IM tolll #4 I H9TFTI>3 | 3% f# n m to HI I39HJ8 II W to tor

3^1 to qitofc hi

11 ibidSec54-ito3

TO& commentary on this says IT crrmt hi '
I ton toto torapsraw I I

37

IFI

Ibid Sec 51-5

5R9R?FR^ I to I9FW to HIT ITO ItlHT II 3TF tFR

I

m tot

to#HT

amir tor Eire; to to to 31H l

II

w wr n to§ 11

wg iwt 3?r(
tier toicf

hit#

m

toto 1 HgftocT wr

h?

tor totocte 11

tortotoir tier SR9T ^rpj^g i s#rr hit to his jht

torw 11

^ihht m to tm T3pr tolto# 31H to to hht Hrritor 11 tM toto tor to 33«nEto i ton tow hj? 11 hi n # i ?nf 3^1313 1 totom clw 3^1 31 nto ii totto 1% qraito 3 tori

iw to%rmwpw 11 msec 56-ito6

224

Kandarpasekharam39 & Devendra Nirmitam 40 For preparing these products the processing techniques like Bhavana, Sodhana and the apparatuses like Bhudhara Yantra and Patalayantra etc are mentioned Then the text proceeds to give the recipes of Gandharaja in 18 sections for which we do not get Sanskrit verses; whereas only Marathi commentary with the words like Gandharaju Hoye or Gandharaja Gaukhat at the end of each section is available 41 4.10 Dhupaci Karani (Dhupas or mcenses) Section 77 onwords we get information on constituents of Dhupas (fumes) Various combmations are explained 8s their uses are also mentioned m the text For instance, Sarvanga Sundara is a variety which has the therapautic values like Pittahara 8s Visahara 42 Similarly, Ananga

39 TWIT 9Tlto

gift*

tor to to to gto

I
II

i ftof topq ftorws

n

9tft m tocT toft I mm

to spar tor *r

m\ m

I

stowfi to toto 3M ^ rmm ?wr l w to ssm t^r w Wt 42

|

?rafdlct*T t*T

W 11

a tot tow w m 11 it#

crtor to ms 31^0^4 11

fto( l

GV Sectxon59 to 76

cPTR? to

€rcr tor

totorr l ^totoroser

cft^Rchl ftof to

41 Vide

Gvsec57-ito4

l

40 m to tor «r towrcw

^ toto to

w to ssr n

wto fto 11

to mm mu

11

Ibid Sec 58-1 to 6

pp 78 to 82

qjjgq^iq^T TPTT sr? tor w 3^ mft II STM W 5R$T IWIM

WTM to

STFi^r tor #5 tocpr torqi

II

#to *r d^rtoto 11

fr ftou swwWfi toH

to?

225

33

11 GV77-1 to4

Srtdhara is another variety which is said to be a composition of Devendra 43

While explaining the Kolahala variety of Dhupa the author uses poetic charm It reads WT

WFT^T MI'-RM’-HH I

sms

tapf

?£T§

'=TFr n

gv

79-1

This verse is appeared m Gandhasara also But here the Marathi commentary clarifies the meaning It says Sajja means Lavanga, Kulavadhulajja means Nakha , Paradhana is identified with Kacora, Papasahjananam means Kustha.Jmadharme Adharmah denotes Jatamamsi

These are to be taken m equal quantity The concerned text (GV Sec-79) reads as under •

wr

wit ^

fBctstel

mi cT

l

11 qit wf

wrr

I t(T ?pr qjq

II

It seems here that the author has used his poetic skill by usmg Pun 8s Homonyms with sematic values By observing this explanation (particularly Jinadharme Adharmah) Dr R T.Vyas says "It may be stated that at a specific penod of history, burning incense, as it formed a necessary part of sensuous enjoyment, was considered to be a taboo in Jainism1,44 Kumaradhupa is another variety under which 2 compounds are given

m Sec 81. He says this compound can be used m palaces It reads-

43

(i) §5 TT# m

*{% I

TU'HcA

SRrTS fpmrTIl GV Sec 81-1

^

I

Ul^riUTtyJ

^wid^idd^ i sWrro aisft TM W 5TFT ^

I ^ §TM

^ wft I

226

^ 4'<$Wd'

fIS

44 GSGV R T Vyas p 7

II n [| g*J II GV 78-1 to 4.

i e Kustha one part, mamsi two parts, Nakha 3 parts, Taila 4 parts, Srikhanda 5 parts & Madhu 6 parts are to he mixed & Dhupa of this mixture is to be given in palaces (n)

f^FPrrg

I

wm 1

ii

gv

sec 81-2

e Hingula one part, Sasi (Karpura) two parts, Srikhanda 3 parts,Sma (Sugar)

4 parts, Bakula 5 parts; a combination of these makes good for palaces Tnbhuvanasara Dhupa is a one more variety which narrated m sec 82 has following combination-

;8 fqf^cFRni8 WMIdS II GV Sec 82

The above three verses are directly taken from Gandhasaraf5 The section 82 has a above smgle verse & no Marathi commentary is succeded 4.11 Vartih (Incense sticks) : Preparation of Incense sticks was a common item of the perfumery sector. Accordingly, Gandhavada mentions different combinations

Usually these are used m royal palaces.The

preparation method of a superior Incense stick{Divyavarti )is as under •

^ 3TFT W

rf TH cfifS ?(ldcbl II

wwm

f$Ml II

^ felFR) for RZ RcRT

I M^d II II GV Sec 83

45 Vide GS 2-10-31,32,33

227

i e Taila, Candana, Lobana, Ambaram & Nakha 9 parts each, Nakha, Kostha, Haritaki, Chada, Ganthivana, Vala, Sailaja, Aguru, Sila each 4 parts, Rala, Laksa each 2 parts, Guggulu 3 parts & 6 parts jaggery are to be powdered & mixed, this becomes a very good combination One more variety by name Sundarivarti is mentioned m the section 84 The composition is as follows * Ben, Ambara, Lobana each one unit, Silarasa, 9 units, Kasturi, Javadi one unit each, Nakha three units, they are to be mixed & grinded in 3 units of sugar water 8s incense stick should be prepared 46

Out of many ingredients to be used for Varti purpose, the usage of Gudddaka or Gudacurna (Jaggery) or Sarkara toya (Sugar water) is important Usually jaggery or sugar water is given for maceration (soften) purpose m the process of purification. There is a customary to use sugar water m modem day cosmetic & perfumery industry 4.12 Vati (Mouth odorant pill): Section 85 of Gandhavada deals with the preparation of perfumed Vati He gives the name Janamathana Vati for this product. The details are as under SII'W'KlcbH I

Tg£T tfcf

Ml <51441 ^ STFIcfH II

cERxjft

9i|U|i|cbo
|

let <41^^ II

46

#4FT m

I

MHtfRcb! I

STM 44 iR* ^ || ifNlfrr

228

GV sec 85

ll GV Sec 84-1, 2

i e Khadira, Kastun & Gorocana are to be powdered & mixed in sandalwood water When it becomes soft, this is to be converted into pills The words of this verse are not clear Moreover, the purpose of preparing Vati is not clear from the text. But by observing the ingredients used, we may assume that this Vati might be kept m mouth as mouth freshner The subsequent commentary says this is a Janamathana Goh(Vati) The relevance of describing the details on mouth odorant m between Varti(Incense sticks) & Udabati (Agarabatis) is not clear. We may mfer that this Vati section might be the last section of Gandhavada. Later on Udabati section might be added, as this does not have any sansknt verses Udabati (Agarabattis). Sections 87 & 88 of the text further describe the production technique of Agarabattis particularly known as Udabati Section 89 concentrates on general Dhupa & section 90 on Dasanga Dhupa under the head Dasanga Caukhat. The product name of section 91 is not mentioned & unable to find out Section 92 & 93 again prescribe the preparation of perfumed oil by name Sugandhataila & Kacatela 47 These sections l e. 87 to 93 do not contain any Sanskrit verses ; whereas only Marathi commentary is seen In the concluding part of the text, the author briefly mentions the contents discussed m the text It reads . 47 GV p 87

229

ffcT IcRT nqiR

TT#WT

cr c^ cf ^cii^tj'r cj^oft

m fRT cT^IT ^ifcPn^T ds4T ch^Rl qM

m fjwl m fqwft

?rarr

f^r ifrpjT

tffrj3! SIM 3# I (GV p
i.ehke this the manufacture of Buka, Gandharaja.Gandhataila,Sugandha, Kaciyatela, testing & manufacturing of musk, Javadi, camphor, incenses & Agarabathis are explained The following colophone is found at the end of the text w$°° ii

Thereafter two tables are found mentioning the product names discussed m early sections. They are as under (GV p 66) Gandharaju Gandharaju Dhupa Buka Gandharaju Javadi Udabati Buka Sugandha Tatiya Buka Gandharaju Dhupa Udabati Buka Gandharaju Udabati ItiSugandha Gandharaju Udabati Dhupu Gandharaju Tailam Dasahga Sugandha Gandharaju Sugandha Galiya Javadisuddha Gandharaju Sugandha Bhasagandha Javadi Madana Gandharaju vadanukramamka » Javadi Kamesvara Gandharaiu _Samapta._______ Buka Buka Buka Kasturi karani Buka 99

59

99

99

55

99

59

55

99

59

99

95

59

99

59

99

59

99

99

99

99

Buka

Buka

Mfganabhikasturi Buka

Buka

Buka

Buka

Bhaskara Cokhata Buka

Buka

Buka

Buka

Javadi

Buka

Buka

Buka

Buka

Javadi

Buka

Buka

Buka

Buka

Kace Taila

Buka

Buka

Buka

Kastun-

Kacataila

Buka

Buka

karani

Buka 230

Buka

Observations on Gandhavada 1 It is to be noted that the text Gandhavada is composed by an unknown author for which Marathi commentary is subjoined Many of Sanskrit verses are not correct from gramatical perspective & the author has not followed the rules of metrical compositions strictly So it is very difficult to comprehend the text properly By observing the descnptional manner of the text it seems that he was probably a professional expert or a technician of Perfumery rather than a refined Sanskrit scholar 2

Distinguishing characteristic of the Gandhavada is the presentation of the subject matter in vernacular prose form along with the measures of substances to be used in manufacturing Industry

3

The information presented in the vernacular prose form serves the purpose of brief systematic presentation of the aromatic substances to be used in preparation of Cosmetic products

4

Considering the very small variety of articles discussed, Dr RT Vyas is of the opinion that the Gandhavada was limited in scope & it had local intrest48

5

DrPK. Gode, byjudging theforms ofMarathi language ofthe commentary, assigns the date for commentary as later half of 15th century or middle of Wh century AD49

48 GSGV

R T Vyas p 73

49 SICH-Vol I P K Gode p 47

231

6

DrPK Gode is also of the opinion that the Marathi commentary is useful linguistically as it gives vernacular equivalents for sansknt terms

7

The mention ofglass-vessel( Kacakupi }for storing the perfume 8s woolen blanket for straining throw light on the type of materials used in manufacturing Industry

8

The reference to histone personalities quoted in the text viz Bhojaraja 8s Smghana helps for fixing the pnor date of the text

9 The reference to the substance like June Khobare i.e coprah or dned kernel of coconut may give new clues to the manufacturerfor alternative sources of raw materials which mtum helps in marketing the product 10

It provides much help for matenalising the concepts as it is framed like a handbook.

11

The substances quoted in the text may or may not be available at present, but they help to revive the tradition of manufacture of Cosmetics 8s Perfumes through giving ample opportunities to draw the useful information 8s making it practically 8s presently relevant Finally, it seems that there is a necessity to review the whole

text from technical view pomt by an alchemist.

232

Comparative studies on Gandhasara & Gandhavada Opmion of the Editor (DR.R T.Vyas) Dr R.T Vyas, the Editor of the two-m-one text, (Gandhasara & Gandhavada)makes following comparative observations They are • 1 The first text i e Gandhasara ofGangadhara is transcribed with less errors compared the transcription of the second work Gandhavada . 2 The second work Gandhavada is much more slack & inferior in compansion with the first work i e.Gandhasara with regard to Sanskrit language and metrical composition 3 The above difference in language & metrical composition proves that the two works were composed by different authors at different tone & place 4 Some verses of Gandhasara are taken directly for commenting in Gandhavada . For instance, (i)

^I m

£Rrf8

11

f^gyT 3##^ f§FPU§ sCTcrfcfcFT I IkTBT^ SjteT 5fcR8 ^JcTS II GS 2-12-31 & 32

These two verses are directly taken & Marathi commentary is joined m Gandhavada as under cftezicfr \ isreiHitfi ^ R ™mi 3 I

M

wi

c^-1 fr

l

sjg I 233

m

11

gv

sec si

(n)

stwrt i

Wmm II

GS 2-12-33

The above verse is directly taken m Gandhavada (section 82) with scribal errors & having no Marathi commentary The following verse of Gandhasara is borrowed by Gandhavada with a little variation. Gandhasara reads : wt

wrwjt

$h*j4hj Mf^r

w TObpr i

ctft ii gs 2-io-40b & 4ia

Gandhavada reads

tai4 « sjjts

to

n gv sec-79-1

Then the above verse is commented upon as under :

m\ wit fS ft ^ I

1

wtt to 1

wwi

i tow wtt

ft 3fTOlftt 1 ft qif TFHTFr Mftft I *TT ?£TT TO 'cbt^T^^ II GV Sec-79

This Marathi commentary helps us to identify the substance names. 5 Considermg the very small variety of articles of Cosmetics 8s Perfumery, for which the method of preparation is dealt with, it can be said that the latter work Gandhavada is much mfenor both qualitatively 85 quantitavely to the former i.e. Gandhasara . 6 Gandhavada is limited m scope 85 local interest,whereas, the former 1 e Gandhasara stands out to be a remarkable technical 8s literary attempt of wider appeal 8s mterest 234

Regarding the two-in-one manuscript - RT Vyas says

50

1 Most of the errors in the two-in-one manuscript are of the kind of haplography & typography 2 Solecisms occur frequently in the manuscript. 3 There are errors in numbering verses & passages 4 Error of demography is also seen in Gandhavada 5 The anomaly in the form of devious manner ofproviding the Sanskrit text in verse & Marathi commentary is seen in Gandhavada.

General Observation on two texts Intoto, the general opinion is as under • 1 The technical processes & materials used & apparatus adopted in processing system in these two texts draw attention towards the technical knowledge of that period and help in reconstructing the history of Technology in ancient India 2 These two texts also throw light upon the vaned tastes of the people of that time which intum helps us to understand the cultural heights attained 3 The substances quoted in the text may or may not available at present But it helps to revive the tradition of manufacture of Cosmetics & Perfumes by giving ample opportunities to draw the useful information and making it presently relevant 50 GSGV R T Vyas p 5

235

V Chapter Applicational Aspects, Regulations, Technical Terms & Related Information On Cosmetics & Perfumes. 5.1

Applicational Aspects (1) Religious(Ritualistic) aspect ( u) Social aspect (111) Erotic aspect

5.2

( w) Medicinal/Nutritive aspect

Regulations & Attitude of Dharma Sastras and Smrtis about using the Cosmetics & Perfumes.

5.3

Explanation of technical terminology on Cosmetics & Perfumery.

5.4

Other information on Cosmetics & Perfumery.

V Chapter: [Applicational Aspects, Regulations, Technical Terms &j j_

Related Information On Cosmetics & Perfumes.

_|

5.1 Applicational Aspects Man began to use the Cosmetics & Perfumes to mcrease the appearance 8s beauty No doubt,they symbolise man's attachment to the material world;but they are not merely meant for sensous enjoyment and luxury to be enjoyed by nch class people as they have deeper basis and more exalted aim They were considered as vital for human progress or healthy status.This utilitarian aspect of Cosmetics 8s Perfumes made the ancient Indians think further for improvement m the products.These improvements and changes m permutations 8s combinations of products led to assume a definite discipline of study viz Gandhasastra i.e.the science of Cosmetics & Perfumery. Thus,the study of Gandhasastra is developed m two approaches. They are : 1) Technical approach - This is concerned with the manufacturing of cosmetic & aromatic products 2) Applicational approach -There is an innate instinct to use cosmetic & perfumery products to feel beautiful So they are used amply in day to day activities.This applicational approach takes several forms The present chapter is viewing the subject from this 2nd approach This Applicational/ utilitarian aspect of Gandhasastra can be studied m the following background 236

(1) Religious or Ritualistic approach (2) Social approach (3) Erotic approach

(4) Medicinal/Nutritive approach

It is to be noted here that all other aspects are very much imbibed with therapeutical or medicinal aspect, as no root or herb that cannot be used as medicme{Nastimulamanausadham-SN 2-127)

5.1.1 Ritualistic approach Many cosmetic 85 aromatic products are closely associated with rituals In our ntual practices i.e.Karmakanda,we invariably use the cosmetic 85 aromatic products. The earliest ritual literature of ancient Indians is Brahmanas and Kalpasutras They provide much information on applicational aspect of Cosmetics

85

Perfumes

Bath formed an important part of the daily routine of the ancient Indians. Caraka says that the bath sanctifies the body 1 2So one could not take part m ritual practices before his body is purified through bath Body is considered as an important medium to express our services to god & accordingly it became one among the karanas 2 For body purification, bath 8g related practices became an important part of religious practice. For instance, Aitareyabrahmana prescribes Abhyahjana and Anulepana of Navanita(hutter) to the body 8s Ahjana to the eyes for a Diksita in Diksanlyesti; further it is said that Ahjana has the capacity of giving brightness to the eyes 3 1 qfor cjbiWI^ 44(4^14^4 i SlftaflTOH

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237

Satapathabrahmana, while discussing Sautramam sacrifice, refers to besprinkling the Yajamana with Vasa (fat) of an animal Before this besprinkling, the Yajamana is rubbed with fragrant substances 4* *It further says in Pitrmedha Nirupana that the Pitr deities 1 e manes are to be offered with Anjana & Abhyanjana,they are human means of embellishments 85 there with they keep off death from themselves 5 Sankhayana Grhyasutra mentions the profuse use of cosmetics 85 perfumery m the marriage ceremony 6 It further mentions that on the occasion of the Sravana oblation on the full moon-day that falls under Sravistha, the celestial serpents are offered cosmetic products to unguent themselves , flowers to tie themselves with ; the collynum to anoint their eye-lashes.7 4

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238

An interesting ritualistic description of Cosmetics & Costumes is given m the Asvalayana Grhyasutra in connection with the equipment of the Brahmacartn, when he was ready to take leave of his teacher after finishing his studies. At that time, it is said that he was to be equipped with jewelled necklace, two ear rmgs, a pair of garments, a turban, parasol, a pair of shoes & a staff, a wreath, cosmetics and eye salve 8 He is also advised to use Ekakhtaka

1

e Karanja seeds to rub his body 9

After washing his body with luke warm water and having worn new garments he is instructed to anointed his eyes uttering the following prayer rRjif qrftfrT

SHWicI | AGS 3-8-9

i e the sharpness of the stone are you , protect my eyes (he anoints his eyes}

The text further says that a Brahmacartn after having salved his both hands with ointment, a Brahmana is required to salve his face first, a Ksatriya to arms, and a Vaisya to his belly, a women to her secret parts and so on 10 Atharvapansista mentions a ceremony which is known as Pistaratryah Kalpah i.e. worshipping the deity of Night. Here, an image of godess Night is made of flour & worshipped. In this worship the priest offers unguents and mcenses along with other objects *11 It also mentions a 8. v3$dl^M'cb^4icf WeKfarft

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3-8-1

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11 Ancillary Literature of the Atharvaveda . A study with reference to the Partsistas B R Modak p 239 239

ritual by name Pusyabhiseka 1 e Royal Ablution, wherem a ceremonial washing is made to the king with holy water under Pusya constellation.12 Varahamihira m his Brhatsamhita elaborately deals this topic under the head Pusyasnanam(chapter 48) He says that the king is the root of the subject and hence the efforts are to be made to enhance the king's welfare 13 This Ablution(Ptvsyasnanam), he states, confers longevity & prosperity of children 85 happmess as well as good fortune to the king.14 This ritual also puts an end to all the evil effects of portents, hence there is nothing holier than this 15 In this powerful ritual (Pusyasnanam Balataram) many herbal & other substances are used to prepare sacred water. They are

Jyotismati creeper, Trayamana, Abhayaf Haritaki) Aparajita

(Visnukranta),Jivanti, Visvesvari, PathafAmbastha orVanatiktika) Sabhanga, Vaca, Saha, Sahadevi, Purnakosa, Satavan, Aristika, Siva, Bhadra, Brahmi,Ksema,Aja,all kinds of seeds, Kahcamf Handra)all auspicious articles (such as curds,

12 Ancillary Literature of the Atharvaveda

A study with reference to the

Parisistas:B R Modak p 237 13. ^

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coloured rice and flowers), all herbs, juices of different tastes, gems, all perfumes , Bilva & Vatkankata fruits, herbs of auspicious names, gold & other auspicious materials16 In the above list many cosmetic 85 perfumery materials are included , moreover an instruction is given to put perfumes (Sarvagandhasca) directly to the jar. Further it is said to draw a mystic diagram (Mandala) for which the celestial deities are invited to accept offerings. Here the Manes (Pitrs) are to be offered with oil bath, collynum, sesamum, meat

85

nee ; the

sages with the hymns of Sama.Yajus 8s Rgveda, perfumes, incense and garlands , ...... gods with incense, ghee, oblations, garlands, gems, invocations and salutations , the Gandharvas and /4psaras(nymphs) with exellent perfumes and sweet smelling garlands etc.17

16

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tototo 1 ibid 48-30 I Ibid 48-31

(111)

TrTS ^tollft?^ I tfljtos II Ibid 48-32

241

Vinayakasanti is a ritual prescribed in- Yajnavalkya SmrtnxTward off

evils. Here, the Yajamana is to be bathed on the day of Santi before Punyahavacana Before bathing Yajnavalkya prescribes Udvartana (rubmg)

with the help of Gaurasarsapa.Ajya, Sarvausadha 8s Sarvagandha 18 Rgvidhanam is a text attributed to Saunakamaharsi which deals with

prescription of various Rgvedamantras for various rituals It prescribes the offering of sticks of Khadira along with ghee 8s Raktacandana on the eve of Lunar Eclipse for getting plenty of wealth 19 Further it says that the offering of Raktacandana along with ghee 8e Gomaya gives plenty of cows.20 It also prescribes to offer the aromatic 8& cosmetic flowers like Jati, Campaka & Raktarka for gettmg Vastralabha 21 Bahpradana, a part of Pakayajha,22 is a kind of offering, wherem, the

food materials are poured on the Mandalas (mystic diagrams) or on the

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Hfrirg I AGS 1-1-3

- Wtfs commentary on this) 242

p 1

earth In a ritual called Vastusanti, the Vastumandala deities are offered Bali of various things 23 Among them the deity called Gandharva is to be offered aromatised water, Varuna is to be offered lotus along with the Kusa grass,the deity Jaya is to be offered Ghrtadz Candana, for Vivasvan the Bali is Payasa & Raktacandana 24 Dana (gift) is a kind of religious practice m India. Manu eulogises this as an important mean of religious practice in Kaliyuga & prescribes as a fundamental duty of a Grhastha 25 Dana is practised even for reducing the evil effects of heavenly bodies In such Danas the aromatic ingredients are also mcluded 26 23 ddl

elicit

24 4^4 34^1**3

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I Ibid 3-1-96,4PM d
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243

MC p 217

Jyotisasastra, a Vedanga, contains many information on Cosmetics 85 Perfumery m its Hora, Samhita and Muhurta sections Brhatsamhita says that the astensm Citra presides over the skilled persons, among whom the perfumer is also one.27 Further while explaining the planetary influences, it says that the expert m Perfumery (Gandhayuktivid) and decorator (Prasadhaka) are coming under the influence of Budhagraha i.e Mercury 28 Generally, m Jyotisa, Sukra indicates all material enjoyments,29 but accordmg to Trailokyaprakasa (an astrological work of the 13th century by Hemaprabha Sun) Brhaspati is presiding over Cosmetics 8s perfumery 30 Even a remedial nature of prescription is also found m these texts For instance, Muhurtacmtamani (13th century text authored by Daivajna Sri Ramacarya) prescribes a bath with herbal medicines (Ousadhajalasnana) for bemg away from unfavourable influences of the heavenly bodies. It reads.

HR JI^RSIFl^T II MC 4-16

1 e.

Laja or Lajjavati herb.Kustha, Bala, Prtyangu, Ghana, Siddhartha, Sarsapa,

27 ^ STMmTS TRSTR#T II BS 15-12

28 ^qTH^F| '3TI^fM?'IWTRcT 29.RtW#r

I

II Ibid 16-18 p 25

30

I Vide SICH-Vol I Dr P K Gode p 88 fn 2

244

Handra, Daruharidra, Devadaru, Sarapunkha 8 Lodhra are to be mixed for bathing water to ward off the unfavourable influences. Similar prescriptions are given by Mantresvara 8& Daivajnamandhara 31 The text Ratnamala gives details of Ousadhisnana containing of cosmetic 8s aromatic articles for bemg away from the unfavourable influences of each Graha 32 31 (i) ter*r

nteft wit *r r# l TftsnjcRTg

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I quoted m MC p 215

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245

Offering oblations for ancestors on particular days is a usual custom of ritual practices. Among the things to be offered to the Pmdas (nce-balls)for ancestors the use of Gandha, Puspa, Dhupa, Tambula etc. are mcluded 33 Post Vedic era has witnessed a new dimension m ritual practices The concept of Devayajna 1 e prayer & offering oblations m to fire took a new turn and Yajnas were substituted by the worship of Images which are representing various gods. As this mode of worship was felt easier for propitiating gods, it became very popular m ancient India Accordmgly, two-fold Image worship was practised. 1 Worshipping the deity in Temples . For this the temples were erected & image is installed on pedastal & worshipped collectively This is termed as Sthirarca, where the image is not meant to be lifted up or moved 2 Worshipping deity in the form of Image in one's own houses This is usually termed as Calarca, where the image can be lifted up & moved to another place Devamurtipratistha Devata-Murti-Pratistha i e consecreation of Image & minting the diety in it is a lengthy process and many rituals are incorporated m it. This process requires many articles Among them the cosmetic & aromatic products too have a significant role. At the out set, the image is to be 33.ddS faniwft

3HTI sfajTs

-

- quoted m SICH-Vol I P K Gode p 137

246

bathed with sandle-wood paste 8s offered incenses While placing the image on the P/f/?a(Pedestal) it is said, eight fragrant things such as white & red sandal, Aguru, Usira etc. are to be deposited m Garbhagrha i.e. innermost chamber of the temple.34 Moreover the products like Manohva,Mamsila,Haritala, Ahjana, Syama, Sisa, Saurastram, Gorocana, Gamka and mercuiy are to be placed.35 After placing the image on pedastal the deity is invited to the image Thereafter many ritual practices are conducted which are collectively known as Brahmakalasa or Dravyakalasa m southern part of India This is a ceremony wherem many Ka/asas(jars) are filled with many number of fragrant items along with other materials and water for the purpose of ablution of the presiding deity m temples The materials used in this process are Pancagavya, Ksira, Dadhi, Ajya, Madhu, Guda, Iksusahla, Taila, Handrajala, Dhatn van, Phalodaka, decoction of Kusa.Kasa, Sevya,Durva,Patira(Candana), Asrg (Kunkuma), Ayah, Plavanga, Mura, Mamsi, Toya, Musta, Ambumuk, Cora, Ela, Sasi, Jati, Kustha, Lavanga 8s Tvak etc.36 Then the cosmic energies are mvoked & mvited m to jars, worshipped 85 34. HDS . Vol Il-part II P V Kane p 899 35 ftraif^PT sFffiTl 36.

giSRj,

SKJP4

m ffetRePTl

SlbilcilR

il

34 34 ^ra3

M^lRebliil^bclia,

dd

tglRft fedII Ibid 8-157,158

247

then the sacred water is poured on the head of image The similar procedure is repeated even at the time of Punah Pratistha i.e Reconsecration of images m temples Arcavidhi .The Image worship either m temples or m houses contains certain procedures to be followed properly These were codified m the form of Arcavidhi 8s vast literature m this regard was evolved. These rituals are explained under the head Devapuja m the digests like Saunaka, Grhyaparisista, Rgvidhana, VisnudharmottaraPurana, BhagavataPurana, Narasimhapurana etc These texts prescribe certain items and steps m the propitiating the deity m Devapuja These are called Upacaras i.e.services.Usually they are sixteen m number & listed as Avahana(inviting), Asana(giving seat), Padya(pouring water for legs), Arghya(water for hand wash), Acamana(water for sippmg), Snar/a (bathing), Vastra (garment), Yajnopavi fa (sacred thread), Anulepana or Gandha (unguents), Paspa (offering flowers), Dhupa(Incenses), Dipa (lights), Naivedya (food), Mukhavasa(Mouth odorants), Pradaksma(going round the image by keepmg deity m the right) 8s A/amas/cara(salutation) In the above list, Arghya, Acamana, Gandhanulepana, Puspa, Dhupa, Dipa 8s Mukhavasa are interlinked with cosmetic 8s perfumery items Arghya generaly consisting of water, milk , top ends of Kusa grass,

248

curds, ghee, whole grains of rice, barly grains ,white mustard seeds 37 Devipurana gives some variant readmg on the items of Arghya 38 Relaxation is also seen m the absence of above materials 39 Arghya to be offered to the image of Visnu is mixed with sandle paste, flowers and whole grams of nee 40 The water for Acamana is to be aromatised with flowers & Camphor 8s to be fumigated with Krsnaguru,41 whereas the Acamana m Sandhyavandanam should not be with aromatised water 42 The Snana with the materials like milk, curds, clarified butter, honey 85 sugar m orderly is termed as Pahcamrta 43 The idea of keepmg sugar m the last might be on practical basis as it removes oilmess. Even Gandhodaka Puspodaka.Phalodaka and pure water are also presenbed for bathing Anulepanam As regards Anulepana,i e. unguents to be offered, numerous ideas are given. Visnudharmasutra says that the unguents should be one or 37.31HS


38.'
qj Mcb^d I Ibid p 13

40 HDS Vol II - part II 41

P V Kane p 731

g fPSRdwlts

I II

p 37

42 I'dldd^cb^PRIltrs

I

swnfas

II

43

- M R Kale p 13

quoted in

p 71

^ ^>dld ^TT ^dl^dd ^ | I

quoted m HDS Vol II part II p 731

249

more out of sandlewood, musk,pine tree,camphor,saffron & nutmeg 44 Gandha constitutes one of the five accessories of religious worship mentioned m Kahkapurana 45 Gangadhara m his Gandhasara also mentions two items for religious worship m which Gandha is also included 46 Kahkapurana mforms that Malayaja is best Gandha for rituals of gods & manes,47 its paste, essence or powder is said to please Visnu 48 Further, the status of Malayaja Gandha is exalted m the following verse 4% ^FSRTrPf SRFdt

I

m II

KP 73-51

Following particular combinations of Gandhanulepana are prescribed for various gods. 1 The combination of Krsnaguru, Karpura, Malayaja is pleasing for godess

Vaisnavi & Kamakhya 49 2 Kuhkuma, Aguru, Kasturi & Karpura are to be mixed , this Gandha gives

pleasure to Tripura & Candi.50 3 General combination ofAstagandha for godess Sakti is the mixture of 4 43141 ^4%! 66-2

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KP 73-50a

I Ibid 73-50b 1

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44T#T8

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44S 44T 40§41§4 344% II KP 73-53

250

Candana, Aguru, Karpura, Cora, Kunkuma, Rocana, Jatamamsi & Kapi51 4 Gandhastaka for Visnu is Candana,Aguru, Hribera, Kustha,Kunkuma, Sevya, Jatamamsi & Mura 52 5 Sivastagandha is consisting of Candana, Aguru, Karpura, Tamala, Jala, Kunkuma, Kusida & Kustha 53 6 Candana,Aguru,Karpura, Rocana, Kunkuma,Kasturi, Raktacandana 8 Hribera, these eight fragrances are for Ganapati54 7 Jala,Kasmira,Kustha,Raktacandana,Candana, Usira, Aguru, & Karpura these eight fragrances are for Surya 55 8 Santikamalakara says that Raktacandana is to be offered to Ravi & Kuja , Candra & Sukra are to be offered unth Candana , Budha & Guru are to be given Candana along with Kunkuma , Sam.Rahu & Ketu are to be given Aguru & Candana 56

51 cfiftpT

52

il arwiltWTcg - quoted in VP-Vol 4 p 2530

-

g>Sg>|H*)ciicb|§ | II Ibid p 2530

53

dW^WffJPTl fwapff IN

11 Ibid p 2530

54 tKdl^ ^ f|rRT f|4

I

J||U|q^[^H ||

quoted m VP-Vol 4 p 2530

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I ('SWI 4^4 = WfSF^PT)

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55

I #1 WScR fcfgg ||

56 to&XfwlIW ft

- quoted m VP-Vol 4 p 2530

I tRFT '4Ff% tq ftot rf
fl^Plg^pd

ddisU^i'cftG^ ^ II mfwrara* p 10

251

The procedure 85 result of offering Gandha is also narrated in some texts 57 Puspa The flowers are to be used m worshipping of gods consistmg of Vanamalhka, Campaka, Asoka, Vasanti, Malati, Kunda & so on JatJ flowers are given most importance m the worship of Visnu.ss Visnudharma Sutra prescribes that flowers having the fragrance are to be oifered{Saugandhikarp); but emittmg an over powering smell 8s having no smell are not be used 59 Usually red coloured flowers are not to be offered, but an exclusion is given for saffron 8s lotus.60 Pujaprakasa, a medieval digest on rituals, mentions the flowers 8s leaves that are to be offered to Siva They are Arka,Karavira,Bilva,Drona flowers, Apamarga, Kusa, Sami, Nilakamala,Dhattura Sami leaves etc 61 Even the offermg of garland of flowers gives good many results 62 57 (1} cF^RTRo, quoted in

gives following information on the fingures

to be used to offer

MNci'l I ?mi

RITO IIVide VP Vol 4 p 2522

(n) KP gives the following proceedure of offermg

mm 1

m

(m) VDP mentions following benefits : (a)

I VDP 2-31-27

(b)

wroiteFpm I vdp 2-31-31

58 HDS Vol II-part II P V Kane p 734 59%nf%S, RFpTS I fcpsnjspfgw 66-5-9 Ibid 66-5-9 61 HDS Vol II-part II P V Kane p 733 62

I 1 (Filter gmraT ppciPT 11 ap 206-8

252

11 kp 73-54

There is a particular reference to the worship of Siva with the Campaka flowers m

Uttarakamakhya Tantra 63 The following result is

mentioned for offermg Puspa cRlT

ftoflStojrWW |

Dhupa -

Accordmg to KP, Dhupa is also one of the five constituents of worship 64 The general composition of Dhupa by name Malayamla is consisting of Candana,Aguru,Kastha,Siva,Sarjarasa & sugar is dear to gods 65 The general verse to be uttered while offering Dhupa is as underTO3rPTg I

OUTFIT qftSQ srfcfpcTPT II

Kalikapurana states Krsnaguru along with Karpura or Vrkadhupa is best

for godess Mahamaya 66 Godess Kamesvan, Tripura & other Matr deities are pleased with the mcense of Raktavidruma, Sala, Suratha, Surala, Santanaka, Nameru, Kaiaguru, Jatikosa
for Kuja, Aguru for Budha, Silhaka for Guru, Bilva & Aguru for Sukra, Guggulu for 63

W pMT

I

wm f$ra#OT=lTpi?r 64 w ge*5€r sjq w 65 4
II Vide SICH-Vol I

P K Gode p 67

totor I kp 73-101 fto*i4<4l fear 1 §tto ll

4®fcr-quoted in GSGV R T Vyas p 34

66 fwrpj^g traces witoto pp 67

wito spjtor 11 kp 73-46 1 *wh«ijI

^9^ to

cbwi^y^ds 11 II KP 73-50,51

253

Sam,, Laksa for Rahu

&

Ketu 68

Sri Nityanathasiddha explains the preparation of the varities of DivyadhOpa offering of which gives auspiciousness & helps in achieving the goal in mystic chantmgs The preparation details are given m II chapter .The effect of Dhupa explained m Rasaratnakara is as underwiiws n rr 19-123 & 127 The importance of offering of Dhupa is mentioned m Kahkapurana (73-6 l)as Caturvargaprado Dhupah i.e DhOpa is an instrument m fulfilling the four goals of life. viz. Dharma.Artha, Kama Sc Moksa. Following results are given for offering Dhupa *1% TfcRIlilft

I VDP 2-31-32

mnm?r\

I

skdvoiiiP8oi

Dipa The wicks for offering Dipa are prepared from cotton & camphor dipped m ghee of cow 69 Gangadhara says that lighting the lamps for whole night gives good many results 70 The benefit of offering Dipa is ?FIT Mukhavasa

I VDP 2-31-33

-

Mukhavasa(matevials for rendering the breath fragrant) is another Upacara m which

Tambula is offered to the god It is to be noted that

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ter ssnfis ogSFTT il rRRPfira p 545

dte

^ efiPJT dfdM?TWeT II GS 2-11-11 254

ancient Grhya and Dharmasutras do not mention about Tambula Based on this Dr P V Kane says " Tambula was probably introduced sometime before or about the beginning of the Christian era in South India & then spread northwards" 71 Hemadrt quotes Ratnakdsa, wherein the definition of Tambula & Mukhavasa is found It says Tambula means betel leaves, betel nut 8s Cunam , while Mukhavasa means these together with cardamom, camphor, Kakkola, pieces of copra and Matulunga 72 Nityacara Paddhati mentions nine ingredients of Tambula viz betel nut, betel leaves, camphor, Kakkola, cardmom, clove, copra & Matulunga fruit73 Apart from these Upacaras there are some other services m which many cosmetic & perfumery products are involved. Among them mention may be made of offering of Angodvartana with the help of Handra 8s Kuhkuma, offering of Ka/ya/a(collynum)8s Karodvartana(offering Candana for rubbing the hands after Naivedya) Usually while offermg these services(Upacaras) to many deities, there are two methods are prevailing (1) One may offer the Upacaras from beginning i e Avahana to Namaskara to one deity or the principal deity and then the same Upacaras to the 71 HDS Vol II-part II P V Kane p 734 72 HDS Vol II-part II P V Kane p 734

73

eTSTT I HlRcbtf §qcfc|cj^| 41^- cPJT

Wm

tl

Pi^WKMfcl quoted in HDS Vol II-part II P V Kane p 734

255

other deities i e. deities one after another This method is termed as Kandanusamaya (2) The other method is Avahana is done for the severed deites in order,then A sana for all and so onup to Namaskara This is called Padarthanusamaya Indian ritualistic tradition gives due status for the performer (Sadhaka) of the ntual practises This status is based on the principle of Sivo Bhutva Sivam Yajet The seat on which the performer sits must be sanctified 85 accordmgly it is said that the seat is to be perfumed 8s fumigated with aromatic ingredients 74 Tantrasastra, as a parallel to Vedic rituals, developed m India m medieval times. It contains a lot of mysticism, occultism, magic 8e marvel and spells of mystic syllables 8s postures which have high potency It has made a considerable influence on Devapuja also. Out of many constituents of Tantra, several mystical postures of the hands and fingures are directly entered m to Arcavidhi. Such postures are called Mudras. Accordmgly, Tantrasamuccaya prescribes Mudra for offering Dhupa and Dipa 75 The other phase of the Tantra practice is based on the principle of attainment of /V/uA?/(salvation) through Bhukti(enjoyment). The highest

74

1 dld^R^d

dlfd'lN

II M'iK-HdHPddS I

snosrfeRW yJi^eS'ddlH II WldtN^Pr^ quoted m

p 189

75 The pictorial presentation of JSTs is given m Appendix picture nos 98s 10

256

goal can be attained not by denying all enjoyments of the senses, but by their gratification m the prescribed maimer In food, drink & sexual matters one should not be adverse, but one should indulge m them with restraint Tantra contains many rituals m which Vasikarana (bringing others under control) is also one. Kamaratnam(Tantra text of 13th C A.D) mentions a 7//a/ca(forehead mark) and Dhupa for attractmg the people. Here we come across with many ingredients of Cosmetics & Perfumery Following are the recipes. (l) Tilaka from Bhrngaraja, Lajja & Sahadevika is used for attracting the

people 76 (11)

The compound of Tridala,Dhattura flower, Lajja and Bhrngaraja are to be mixed with ghee, when applied as Tilaka one can hypnotize the man 77

(m) Haritala, Kunati (Manahsila)Bhrngapaksa are to be taken in equal parts,

then along uMh the flowers ofDhattura a pill is to be prepared & then applied, attracts people 78 (iv)

Dhupa of the powder from Madanaphala is capable of attracting people 79

76

^

I II

77

sitpcr 'SJfTFJH

78

mm

KR 5-3

i

feu

II Ibid 5-4

m wi

€r=r

fg1! clfefiT cfiRStep-g II tal 79

II Ibid 5-5 sjyr

flH I Ibid 5-11

257

= wrra)

The composition of Vatsanabha, leaves-flowers-fruits- bark & roots

(v)

of Dhattura, blood of she buffellow, Kana

&

Guggulu given in night

makes the Mohana effect80 Even Tambula along with magical spells ifgiven to the person to whom

(vi)

we propose to hypnotize, then he is attracted 81 Roots

(vn)

&

grinded

seeds of Subha (Pnyangu) Raktacandana, Trutibija(Ela) are to be mixed in equal parts , such mixture is to be given for

&

consumption along with Tambula,even the leader can also be caught82 (vrn)

Chuchundari, Sarpamunda and long tail of scorpion & Hantala are to be taken in equal parts , ifDhupa is made of this mixture, the inhaler is hypnotized immediately 83

(ix)

AdhahpuspJ, Sikha, white Ginkarnika

& Gorocana

are to be mixed equally,

if applied as Tilaka hypnotizes even the enemies 84 80 wr

sjfenf *###!% m°iT I II KR 5-12

(W =33ffF>T ,

^ Of SJrJT)

81 3# WRcKIJIWI

§cb'K^dlS 1

fed! fSFcT

II

fPT dl^'HIcNW I

mzm 3#

n ibid 5-6& 7

82 jppjyl dm

#d Iddmdddmmf I

m

dl^ylKl ddfrRtdl ^eRg II Ibid 5-9,10

83

cjfi^cfiW jj cb'JdcbH I

m sjtr

ywraiR n ibid 5-14

84 3Tdsg# ta td ta)

d Ptftc#rmr 1 II Ibid 5-15

258

Sri Nityanatha Siddha also prescribes a composition made from honey & white lotus for consumption which relieves one from Mohana 1

e hypnotism which he designates it as Mohasamanam .8S Akasabhairava Kalpa (1400 A.D - 1600 A D) (m the Patala i.e chapter

on Kumaripujamantrasvarupakathanam) mentions particular form of Tilakas l e forehead marks of aromatic products for the worship of unmarried girl of different castes durmg Navaratra festival 86 In the same festival, it is said, on the first day hair caring materials are to be offered ; on second day oil for hair , on third day mirror, Smdura & Alaktaka , on fourth day Madhuparka & Tilaka, Netramandana (Kajjala), on fifth day Cosmetics 8s other decorating material & so on 87 5.1.2 Social applications Cosmetics and Perfumes were used by both men 8s women since fePiMg *m°o

85 86

II KR 5-17

of rPH Of fg*I %94T 9J3T '3R5OT -

of

8s 3PJS

Of cfiRjh & of

I Vide

SICH-Vol III

The purpose of worshipping
TO II

87

is as under

p 125

5RSM 5lfcRf|% I WlcftT crcfnrer ^wwi

part I P K Gode p 89

I wf# rRjsqf § ta?

Mo^RfCPT W 9l=ki|ld4
259

II ii

the earliest times. They were used to cleanse, to allay skin troubles, to cover up imperfections and to beautify the body Accordingly, they became a part of life As pomted m second chapter, Vatsayana in his Kamasutra instructs some duties to be adopted to call him a Nagaraka (civilized man) They are consisting of daily bathing, application of soap, rubbing the body, brushmg the teeth, application of unguents m moderate proportion, having fumigated, wearing a garland of flowers, application of bees wax for prevention of cracks, red coloured dye as lipstics, gazing m mirror, partaking of Tambula for rendering the breath fragrant etc Then only one should set about his daily activities.88 These ideas might have inspired Gahgadhara to define the scope of Gandhasastra as Tnvargaphalada 8s Rajnam Tosakaram i.e. pleasmg kings Further it is already mentioned m introduction that the enjoyment of Sugandha is a legitimate object of enjoyment.89 The Smrti texts lay more regulations on Brahmanas, whereas, the Ksatnyas are given some liberty with regard to customs 8s enjoyments. The concept of Atmarna as said by Dasaratha m Ramayana might be sufficient to prove this.90 Accordingly, m the works like /War/asoZ/asa(encyclopaedic work of Calukya king Somesvara 1130 AD) 8s 88

m

HTcRTtfM

^

I KS 1-4-5 89

I $pzn ^

90

In?

II SICH-Vol I

P K Gode p 131

cWldFfs IVR 2-4-14 («IWI#iM

i^IcK I MmfSTCRfa

260

2-4-14)

Sivatatvaratnakara

(work of Keladi Basavabhupala of 16th CAD )we get chapters

on different Bhogas (enjoyments)

Brhatsamhita

and erotic texts too add some

information on these Bhogas. Among them (a) Snanabhoga (b) Vilepanabhoga (c) Malyabhoga (d)Dhupabhoga (e)Tambulabhoga

(f) Asana & Sayyabhoga (g)Vastrabhoga &

(h) Padukabhoga are related to Cosmetics 8s Perfumery (a)

Snanabhoga

In India the importance of daily bath for persons of all classes has been emphasised Medicinal treatises contain detailed instructions about the daily bath both for bodily comfort & cleanliness Manasollasa 85 Sivatatvaratnakara

bath.

Sivatatvaratnakara,

lay down instructions about the royal

bemg a later text, might have composed on the

basis of Manasollasa A summary of beautiful description of Snana Bhoga appeared

Manasollasa (3-1-927 to 933)

is as under

The apartment for the royal bath should be in the north-east quarter ofthe palace Its ceiling, pillars and walls should be beautifully decorated with vanegated colours The king before taking bath in this apartment, the Mallas(athletes) well versed in the art of massaging should massage the king's body freely with the tender palms of their hands by the use offragrant & medicinal oil The oil for Abhyanga should be applied to the king's body by young female attendants with their tender palms of hands having nails shinning like the intenor of a

Ketaki

bud & having the

capacity to produce a feeling of escastacy in the king's mind " Sivatatvaratnakara

gives some more guidelines, regulations 85 results of

Abhyanga

261

The unguent for The roots

Mardana

is prepared from the following items

of Kostha, Patolaka, Musta, Granthiparna, Handra, Daruhandra,

Pataka, Tagara, Mamsi, Vajigandha & Puskara -

dll these roots should be dried

up in shade & then mixed together For this mixture, the leaves Rajavrksa, Tulasi, Arjaka

(sweet Basil) are to be added, again this mixture is

to be blended with pounded seeds Bakua & Cakramarda,

sticks

ofNimba,

ofEla, Jati, Sarsapa, Tita, Kustumburu,

then this is to be again mixed with the powdered

ofLavanga, Padmaka, Lodhra, Srikhanda, Suradaru.Aguru & Sarala

the flowers of

Nagakesara, Punnaga, Kanta, Kunkuma & Campaka

thrown into it, finally the materials like Guggulu,

, then

are to be

Samdhava, Bola & Sarjarasa

are to be pounded in water or nee Vinegar( Kahjika) and to be added to the above product91 Thereafter the text prescribes Khali (cake) for removing oihness of the skin This process called

Snehapanayana

is as under

Take particular quantity offine wheat flour, mix it with fermented nee gruel

(Aranala)

and powdered roots of

Then the

Madana & Pisuna

king is to be bathed with perfumed waters.92 While bathing an unguent 91

a$aa

Am; cfit

*witAd I cRls qzto 3M

^tts^pt 11

difaw a 35^ 1 x^\ jpft ^

TRfW

*r 1 AAF$M wwt HPTjfrs w

q?lMlMqi§W frR'TTS

^33- to dtsr

Amim

IcJTf^T

gwe a 1

11

4kK)qi

tRTfhr II

wr %r csisi^difd'

11

dH^^lWra^qw-IcbH I

jnjg

cj^r 11

^ cm

1

II

Am

ai

11

^jqfcTi ASAA AAmhl I M 934-941

92,a^rr Ams a ^ ^icFr

srs#

1

11

i^¥twj%

%hjt f^H>wi mb 11

262

ibid 941-943

made of the perfumed pulp of the fruits ofAmalaka should be applied & washed clean with aggreably warm water from holy places in different parts of India Then scented turmeric pulp should be applied to the body & should wash it clean with slightly cool water & dry it up. Then the king should remove the wet garments from his body & wear a clean white garment93 The details of Snanabhoga can be concluded by quoting the verses on the benefit of massage & bath as under:

I)

mm OTlTl fcRTSH^ I

II) HM 'TFT TTSMdIFddd 'pFTOfcFTTT SlHwWdd *

JMFWT WIT rRT81

TTSSHT tRWt

^ t%t

wm ^ft

3°n8 n srb 3-103

(b) Vilepanabhoga The application of cosmetic products to the body is an age old practice Ayurvedic texts mention many results from Anulepanam. For instance, Madhava says :

TeFF^TT I FFFFT 93 ^I^MdebS

I

Tkcp-

II ipMs #lfS JJTS II

fumn

w-tai 1

^StcH tR|T TlRRlt

Ri^tr ^18

WT

tth TnTTRT

I

fthtFt

1 far gtflr II M 949-953

263

ttft

11

II

11

Subhasitaratnabhandagara mentions following benefits from Vilepana Tirmstam rRHi^te^ ii srb 3-108

Manasollasa & Sivatatvaratnakara both deal with unguents m their section on Vilepanabhoga Sivatatvaratnakara says that a king is expected to be unguented with varied, multicoloured aromatic products 94 These texts proceed with the details on different anointments prepared from different aromatic ingredients that are to be used by the king depending on the seasons An unguent by name Yaksakardama made up of Candana,Aguru,Karpura,Kasturi,Kunkuma,Granthiparna,Jati, Puti after havmg powdered & fumigated is to be annomted m the spring season 95 When a paste is used for various jomts of the body with a view to removing bad odour, it is known as Sandhyalepa 1 e. ointments for joints {Sandhis) This should be applied to armpits, joints of ears, navel 85 the jomts of thighs 96 This is usually prepared from Snkhanda, Sasi, Punnaga, Kesara, Ketaki, Mallika 85 Patah. During summer the unguent should be of cooling effect 97 During rainy season the unguent is from Hancandana, Kesara, 8s Katutaila, along with Ghanasara 98 During winter 94WWA fate

95

dldmtetejj Sfdfcr dtgfdS II STR 6-14-87

II

§wt ^^dT 11 tel te

I

M 981b & 983a

96 OTdft di
fT8 ftepWT I Ibid 988a

98dir§te5Rn^r fftedter 11 ted ddrcraw tern s^aftfadd; 1 4i4ftddMI^4d draRFTWTW II dTfST fgd

vFFTiei tep^l

fgd dftew MddK^jfadd II fte ter W telt

264

dtSdTg I Ibid 989b to 992a

it is from Kunkuma along with fragrant oils 99 A detailed information on the manufacture of Pullinga branded unguent, which is to be used m Hemanta 85 Sisira, is narrated m Manasollasa.100Another combmation of Candana, Padmakesara 8s Utpala is advised for Saratkala 101 The usual places for the application of omtments are forehead, upper part of arms, neck, chest & belly.102 The production process of best quality of Kunkuma to be used by the kings is explained m Sivatatvaratnakara 103 It further prescribes an important guideline that the Vilepana should match with dress 8s ornaments 104 (c) Malyabhoga Malyabhoga is the enjoyment with garlands of flowers by the long

99

$g*T cb|AR
I

100 tefaT

II WtT fete rU 11

rr tef1! SfflqT W tefelT II

M 1005b & 1006a

dtel tefe I

teit

qq

1

'#I;P^R

qqTteRld'Ffe I

II tefs tetetefe STW sfetejlWdS

fqfe

II Rte qrfteT

gqg I

q

I

qqtefeteqraqs tteft fteq 11 dfefeRRfe

site ster qir teiftq qqs %

fenfe

ii

^loq^ifrai

^wi fete q

fte sjfegqs 11 nsqnr

3^ pff W Rl|tepq

tetfer ps 1

qrc qrc

|| ^pyy ^

1

q ejqfer 1 |

ibid 995-1004a

101 qqq w§ter ter qtefc 11 ^PflRrcf fel 102

wsitfe I M 1004b & 1005a

qiffte: qfe qs^te; l

103 c&isteflqwjq steteroi 11

ibid 1007a #%q

mn\m

cbirl^WHTgqd- STOUtl'IOTH*!^ II rTIf§T 104 HRq^errgte qifttetel II

ten

1

% tteaf H^dlH I STR 6-14-69,70

Ibid 6-14-86

265

Flowers naturally provide the aromas which have the theraupatic effects The flowers to be used for preparing garlands are Campaka, Mallika,Satapatra, Malatl, Jati,Punnaga,Ketaki,Yuthi, Varnapuspa, Iruvaiti, Nevah etc

105

Sivatatvaratnakara gives following details on Malyabhoga

A king is supposed to wear Kutaja, Mallika, Vanamallika in Varsa & Sisira seasons

106

Nagacampaka, Sevanti, Punnaga & Utpala are to be worn in

Saratkala & Vasanta seasons

in other seasons

107

Jati, Ketaki, Kunda, Campaka are to be worn

The therapeutic values of some flower are also

108

mentioned in Sivatatvaratnakara It says Mallika is ofUsnavirya, cures Slesma, gives brightness to the eyes & helps in growing the dense hair109 Satapuspa cures Sirobhrama, laziness, gives brightness to the eyes & also

helps in hair growth110 Jati cures Tridosa, Angadaha & eye diseases 111 Ketaki removes Vataddsa.Slesmadosa & it is Pitta in nature112 Even the 105

wmeb<4Ucw

wI

wm gta tfr

cTPig^T W 106 f

ftftcbfticbiH i wk

9T^FTTeJ

g

I STR 6-16-29 to 32a g «1KMt

W i

108^

rt

109

w® II

w

wrfwR&r il

107

n

1 Ibid 6-16-37b&38a II STR 6-16-38b&39a

giicftg umPt dtfPrr cfg^ip II ibid6-i6-39

Hiwicbwis agg

^

I

gdtggs Pmh

Mfcr n ibid 6-16-40

lio^yjTste gjpnicr'Pr Mm

11 ibid 6-16-41 4%t 1

111 fPmMt

112 jJxTcftnsfgr gwRSifMKl

wr

fFng 11 ibid.6-16-42

1 ftri w

11 str 6-16-43

266

time for wearing the flowers is also mentioned 113 The relevance of Malyabhoga m the context of Cosmetics & Perfumery is justified on the ground that the flowers listed here were used for preparing perfumed oils m ancient India This can be concluded with the following verse WK

SfROT cRl^rlchKcbH

II BP toif98

(d) Dhupabhoga Sabdakalpadruma defines Dhupa as under:

tjfcf TFWPIcT§ I 1

SJT

!l

e. Dhupa removes all evils & gives happiness

Dhupabhoga deals with the enjoyment of incenses. The common

ingredients used m the manufacture of different types of incenses are mentioned in Manasollasa together with the process of preparation The varities are * 1 Curnadhupa In this variety the products like Laksa, Guggulu, Karpura, Rata, Kunturu, Sihlaka, Snkhanda, Darn, Sarala, Laghukosta, Valaka, Mamsi.Kunkuma, Pathya, Kasturi, Putt, Bijaka, Sankha, Nabhi, Nakha, Sita, Madhu,Ghrta, Guda

are to be taken in equal quantity; these are powdered excluding liquids and added two times Laghukarpura , this is Curnadhupa 114

gMt

gufeqif || ibid 6-16-45,46,47,48

114 3^ SJWPrtsn cpi# STS *RsT

I

II

W grafts l4l#fpq?ZIT W ^

?HTaMR#§x|cr torgERT 33s I w%#T ^yrff^r feyrr

^fftsqPffFTS I M 1697bto 1700a

267

II

%rt

w ii

2 Pindadhupa If the above combination is mixed wtth Sihlaka, honey,clarified butter & then blended together with molasses one gets Pindadhupa 115 3 Vartidhupa

The same blend reduced to paste by mixing with water &

then with honey & ghee becomes the base for Vartis i e incense-sticks, after forming the Vartis they are to be dried 116 The method of fumigation is also mentioned He says that the Pindadhupa is to be kept over the burning coals m the metal-censer made of gold etc, having the shape of a bird or animal with holes at appropriate places.117 Further a base for keeping the incense stick is also mentioned With the help of these devices the incense is to be inhaled by king or queen The other uses of Dhupa mentioned here are - for fumigating clothes, bed, home, rooms etc This is how Dhupabhoga is enjoyed (e)

Tambulabhoga Tambula or betel-chewing is considered to be an important habit

of Indians The earliest mscriptional evidence of Tambula goes back to 473 A D 118 Tambula plays an important role m customs, ceremonies, religious festivals & social functions It is considered to be a token

115

I

\ eft! TO II M 1700b&1701a 116 aapifcnft dlcfamfll

117'ftfdWM Sift

qpffiwT n q%TS I Ibid 1701b&1702a

pafsifctesM II

II M 1702b-03

118 SICH-Vol I P K Gode p 137

268

for the effect of the marriage of A sura type 119 There is a ceremonial custom of giving Tambula to the child after 2Vi months from delivery. Some times on the event of 6th month is also considered This is given with the mtention of endowing the child with the health, peace, auspiciousness,wealth & happy living 120 Thirteen qualities of Tambula which are appreciated m many of the texts121 are listed as under* childm OTTlf^RT

mm
It is said that the man who does not chew Tambula early m the morning, dmner time, m the company of woman, m leisure time, m the assembly of learned men and m the royal court, is a veritable beast.122 Manasollasa says that the long after having bath, should enter the restmg rooms enjoying the Tambulabhoga

119

cPp'FjilcH’T I #r's

quoted in SICH-Vol I

120 (l) cpp

(n)

P K Gode p 137

3T I MC 5-23

in# tt cn*p ^ f&nferi Vide

n commentaiy on

p 253

121 Dr PK Gode enlisted the vanous sources descnbing the 13 qualities of XFfW Vide SICH-Vol I P K Gode p 146 122

gcf#IT tfcf

RifiSMdMNi dP^T lir d

^#1

Rgs II uiuilhcbf commentary on

269

p 163

This section contains interesting information The areca-nuts to be used m the betel should be of the best quality, npe,dried m shade and perfumed m musk water They are preferably obtained from Nailavarti, Isvarapura & Kandikapura as they are known for their exellent quality 123 Fme powder of musk & camphor m equal quantity should be blended together and be used m the roll of betel, musk, camphor, Kakkola, Jatiphala, Karambaka, Curiam, powder of Khadirakvatha (catechu) blended with particles of musk, scented m sandal water and with camphor ; all these substances should be powdered finely and to be blended m equal quantity. The roll of betel-leaf dressed with the above blend, if eaten, removes disorders arising from Tridosa, is soothing to throat and renders the teeth strong 124 Sivatatvaratnakara prescribes that one has to chew Tambula only after offering it to the gods & learned priests 123 Some regulations are also 123%R%^T

I

■^Rclweb^ckir^

sRcngy^jdiRr

fRJ^TFT

|

wgm

^4|Rhs II

IWoTOI!

qi

^it

mm sitaRr w n

WliRfil M961to965a The towns ^klRld,

& cRIFgejgt may be identified with modem Tiru-

nailavalli, Kanjeevaram and Kaddalure in Tamilnadu,Southern India Vide 124

I

fgf

fRT II

125.^N*| gqof^r W flyl^RIg

^5^IT

I
270

GSGV p 50 II

q ^14^11M 973-976a

found regarding the use of ingredients of Tambula 126 It is said that the practice of consuming Tambula on roads current m all provinces of country is an evil custom 127 The systamatic chewing of betel nut is appreciated, the violation of which yields adverse results 128 Thus, with the help of cosmetic 8b aromatic products Tambulabhoga attained a royal status m India. The relevance of Tambulabhoga m the context of cosmetics 8s perfumery is based on its dependence on cosmetic 8s aromatic products (f) A sana & Sayyabhoga These are related to seats 8b beds to be used by the king Asana, Spandana, Candana, Haridra{may be Daruharidra-coscmmm fenestratum) Devadaru, Tinduki,Sala,Kasman,Anjana,Padmaka,Saka 8s Simsapa are some of the trees recommended for the manufacture of beds and seats(Sayya 8s Asana).129 In the above list all most all trees are used m cosmetics 85 perfumery industry. Further it is said a cot made wholly by Sriparni bestows wealth , Asana destroys diseases ; Tmduka gives wealth , Simsapa all-round development, Candana destroys enemies 8b bestows religious merit, fame 8b long life ; Padmaka gives long Me, prosperity, learning 8b wealth ; Sala or Saka gives happmess 8b prosperity A king reposmg 126

II Vide

127 if'sjr ^ST *44 rll^WT

I

commentary on MC p 253 of TOIM (pupil of 'MgMWRirf) quoted

in SICH-Vol III part II P K Gode p 73

128

TO I SH3FISR&

129 3WTOKH'

W TOTflT ll Vide MC p 253 -

1 cU ftRfjqi ^

II BS 79-2

271

on a cot made entirely of sandal wood 8s covered with gold & bedecked with wonderful gems, will be honoured even by gods 130 Manasollasa gives following information on royal beds consistmg of aromatic flowers Kesaraja Sayya is a type of bed prepared with the help of Padmakesara, Nagapuspa, fragrant flowers d&Kunkuma Pallavasayya is made from Kamala, Utpala, Kalhara.Rambha 8s Kankola A bed useful m sexual act is termed as Kusumaja which is prepared with Malhka,Patali,Campaka & other aromatic flowers 131 (g)Vastrabhoga Vastrabhoga is a part royal enjoyment wherem the king puts new garments dyed with many cosmetic products like Manjistha, Laksa, Kausumbha, Sindura, Haridra & Abhaya 132 In the strict sense of the term this is coming under the art of Vasanaraga i.e. Textile Dyeing as explained 130

m tpfs

wwm I

f fSiPlfHdl

m qwr4fs ^
dl

I

ii frpt

II

ewm

p feigif^r

n

cbi^fpjh

gyfe n BS 79-11 to 14

I3i(i)%#§

ii

rim

ffwqtsi M3-18-1678b, 1680a

Ibid 3-18-1680b, 168 la d II

gdRlblS

<£dl g £TTI

cblH=bfag
w qfT5H

fcrfcfSITS

ii

wi

smroicipnft fftnMwFi

pis II Ibid 3-6-1028b to 1030a

272

n

m Kamasutra of Vatsayana Here it is relevent because of the same plants that are used m cosmetic 85 perfumer industry also. (h) Paduka Bhoga In Paduka Bhoga, the king uses the shoes prepared from aromatic woods like Sriparni, Hancandana, Girimalhka, Syandana etc.133 5.1.3 Erotic or Conjugal Applications. Conjugal bliss is a kind of pleasure permitted for Grhastha or house holder This pleasure strengthens the married life. In married individuals the sexual relation must stay for longtime m order to get the satiation The cosmetic 85 aromatic products play a significant role m conjugal pleasure. It is said Candana (sandal) Sugandhi(-perfumes) 8s Sraya(garlands) are the sources for mcreasmg the passion.134 Moreover, it is said that the place of mtercourse is to be aromatised 8s fumigated 135 Even the Dharmasastras allow a house -holder to go to bed with his wife after enjoymg perfumes 8s Tambula 136 Kamandaka says, while meeting the queens, the king is expected 133

II PlRdwIW^d

I M 3-2-954b -955a

134

^

I

4HPT W 438 135

II quoted in VMBS M R Bhat p 699

tfRld IgSPldRtcl

fqfcw hsrpit 11 ar s-26

136 ?RTo wRddl

dl*^llR^HR8

I- SFHfMu m ^-Rm - quoted m SICH-Vol III P K Gode p 137

273

to take bath, be unguented, be aromatised and garlanded with flowers 85 bedecked with jewels 137 Somesvara in Manasollasa deals with Yosidbhoga i.e. enjoyment with females, wherem, he says that the king should reject the females who are emitting bad smell138 85 accept one who does not have sweat (Asveda) 8& has pleasing smell[Sugandhih) Sexual act is a complex one m which many thmgs like psychic, nervous 8s physical activities are involved Some times the sexual problems may arise m the form of erectile disfunction, impotence, lack of sexual desire etc. Vajikarana is a branch of Ayurveda which deals with imparting happy successful marital life It is aiming at giving instantaneous enjoyment, having prolonged sexual act and giving satisfaction to the spouse by improvmg body strength & optimizing the nutritional status m general. Kama, one bemg m the Tnvargas, is commg under scope of Gandhasastra i.e. Cosmetics & Perfumery Many of cosmetic & perfumery ingredients like Satavan,Punarnava, Mandukaparm, Aparajita, Guggulu, Amalaki, Jivanti, Haritaki & Guduci etc. are proved to be the aphrodisiacs(sex stimulaters) in nature There are many formulae explained m some texts Varahamihira calls this Kandarpikam 8s gives following recipes m which many cosmetic 8s aromatic products are included. They are : 137

3Fff?!H8 5#T8 Hfrfl Wd.r1cHH|

| trifSFn’T II quoted in VMBS M R.Bhat p 699

138(i) gfcsiT.............. tfPt

[8

fcl<#fcr I M 3-20-67

qftcMifiT II Ibid 3-30-18

274

1 )One who eats a mixture of equal quantities of Pyrites, honey, mercury, iron dust, Haritaki S/Iajatu 8s Ghrta will be able to please a damsel as if a young man 139 2) One who drinks milk boiled with the roots ofKapikacchu will not be exhausted in sexual activities.1*0 3) The powder ofDhatri is to be boiled with its own juice and mixed with honey, sugar & ghee in equal quantities This mixture should be licked & milk to be taken according to one's digestionpower.This helps the consumer to enjoy sexual pleasure141 Anangaranga, an erotic text, says that all conjugal happiness lies

in erection of penis. If there is no proper erection the whole activity is futile.142 The formulations for proper erection are as under : 1 The powder of Vidari mixed in Svarasa 8s dried in Sunlight, then along with Madhu 8s Ajya are to be added 8s licked 143

fcRifcrcsiPt

140

'wwcmi gift ii bs 76-3

?TS cfiterJUjts 4NPWS

141

^ q

4T f^WFT

gjf

I

^ WSJTFPT II Ibid 76-4

§*nfcRT

1 ll BS 76-6

142 3RT8 143

|| AR 6-23 torfs MtttffacT *ng9TlftcT4l

TOMpIf&RT

#IdT q§T II Ibid 6-24

275

2 The powder ofDhatn mixed in its own Svarasa along with Ajya & Sita,

Ksaudra , if licked gives youthfulness 144 3 The roots ofLaghusalmali & Tala are to be mixed with ghee & milk gives

similar effect145 4 Powder of Kapi, Goksura, Goraksa, Bala, Nagabala & Sataputra are to be

consumed along with milk 146 5 Equal parts ofjuice of Sataputra and ghee, ten parts milk, mixed well

with honey & sugar gives Vajikarana effect147 The other common problem with regard to sexual activity is premature ejaculation. Anangaranga says that if there is a premature ejaculation, the spouse will not get satisfaction & hence he explains the remedial measure m this regard 148 The remedial measures are as under 1. The roots ofLajjalu is to be pasted along with cow milk or Vajriksira and

applied to the legs before going to bed 149 144 WlMfdd

tll^faM^dlRddH I

Rfep TI# fgbft dW-Jd H AR 6-25 145

W

pffidH I

trfrn TOl felT #

II Ibid 6-26

WAi is a bird known for its sexual activity

a

sidprars %r #74 'ffew n ibid 6-27

147 9ldpK*l

llfepd

TRTgl

AM mrffcA ^^dl^r 'fifes TdT II Ibid 6-32 148 4cHF4cRF4# p qRdM A

I

pfelRfetdcf

149

II Ibid 6-12

41 pi I ftpT

RltI#3T Rl^fd II Ibid 6-12

276

2 The application of powder of Varsabhu mixed in Kusumbhataila gives the desired effect150 3 Kakajangha & roots of Svetabja when applied to the navel after mixing it with Ksaudra gives the above effect151 4 Equal parts of Camphor and Sampaka & Sambhubija are to be mixed with honey & applied to the navel152 5 The seeds ofSitakokila collected on the day of Pusya constellation are to be tied in the waist along with the red thread 153 6 The seeds of Saptaparna are to be collected on Sunday; the same will be kept in mouth while intercourse gives the same effect, provided he should eat food exclusion ofAmla in the day & in the night he should consume only Tambulaparna avoiding anything other154 Anangaranga further says that conjugal bliss is depending upon the size of penis 8b size of erection. Therefore, he proceeds to give the recipes for improving the size of the penis which he calls it

150 m

ciqfywyisft m i

fiftTCKS fM

II AR 6-13

151 tons cblcM^Wf

| || ibid 6-14

152 SRTcP

^ ^ tf MTSTOf I 4S ¥ #3 ^ 5*# II Ibid 6-15

153

^I ^

154wMrt^t

cfifew || Ibid 6-16

4t M

31#^ afuf g

i

^ irft gtd ^ n

TOfw; I Ibid 17&19a

277

Lingasthullkarana

155 The formulations are :

1 Equal parts of Bala,

Nagabala, Kustha, Vaca, Dvirada, Pippali, Vajigandha,

are to be powdered & along with Navamta to be applied to the

Hayanpu

perns 156 2 The powder ofJati,

Rasa, Sila, Kustha, Ghosa, Tankana

mixed in sesamum

oil when applied to the penis gives the above effect157 3 Samdhava, Manca, Kustha, Brhatt.Kharamahjari, Hayagandha, Yava,Masa,Pippah, and

Gaurasarsapa Madhu,

4

Tilataila

are to be mixed & then rubbed along with

it enhances penis & breasts 158

Katutaila

prepared with the materials like fruits & barks of Brhati.Phala,

Bhallata, Dadimi

if rubbed, gives desired effect159

5.Tilataila prepared with the pastes of

Lodhra, Kasisa, Matanga & Bala

when

applied enhances penis 160 155

f^r

i

4$ **jjtowuigwg[ II AR 6-33

I56.3?ir wrawr

I

dd4lcH fagM

157

*4

I ^dkid^T W

| 5Rl4rT II AR 6-36

158 tNra

'fellHool'd I

WTFm 44T 4M8 faq# Rftpfdlfd flfosj

II fqg I <

II RR 6-37&38

159 ^Mn«lflTOlRRTfe4l4Kielv6^81 SlfeRT

rT

II Ibid 6-39

160 ^cbi^Hld$4dl«b&1$15iWwif I cter traiRld

^dlRcbuirOd^ II Ibid 6-42

278

mtwt ii II Ibid 6-34&3S

Another problem related to conjugal life is enlargement of vagina due to delivery So erotic texts claim that mtercourse with such a spouse will not yield happiness Therefore, the remedy is prescribed which is termed as Yonisankocavidhi161 The recipes are as under1 Kamala flower along with its stalk has to be pounded & made in to pills , such pill is to be kept in vagina, will yield the desired result162 2.Devadaru, Haridra, Daruhandra, filament of Sarasija are to be pounded & applied to Madanagara which contracts the part163 3 Pikabija is to be pasted in water and such an application gives the result164 4 Triphala.Dhataki flower,bark of Jambu & Savara are to be taken in equal quantity and mixed with Ksaudra then applied to the secret part 165 5 Seeds of Katutumbi along with Lodhra if applied to Smaramandira the just delivered woman becomes Kanya.166 161 !?l5M4HfdHf

g5T 4 ffccTI

n rr 6-43

trstq# 162

wrr 3PT

l

fgjsft Wl^lRcbi II AR 6-44

1

163

trftfcr 4Wtr sta tw ?r^r 11 ibid 6-45 164 tar

4lRlqts 4RMTT1

Rp#I 4T 415

II Ibid 6-46

165 Bi4wirairr^
tidrts tar •ras^disfa p

4% 1 II Ibid 6-47

twrf^i v>ta 11 ibid 6-48

279

6 Vajigandha,Bala,Nisa,lndivara,Kustha are to be pounded in water & applied

to Smaragara

167

7 Essence of sticks ofMadhuka, pasted with honey & applied.168 In order to get the conjugall bliss, the ancient thought was progressed to the extent of perfuming the vagina. It says 1 The Sarsapataiia is to be perfumed with Jatipuspa & boiled in mild fire,

to be applied to the secret part, yield aroma in intercourse 169 2 Suradaru, Tila, Arista, Dadima, Ahjana, Kahcana are to be pounded & oil is to

be prepared , Abhyanga made to vagina will yield fragrance170 Kucasamskara is a part conjugal bliss,for which following are the recipes l.Vajigandha, Vaca, Kustha, Kana, Asvan, lavaiigaka

along with Navanita if

applied enlarges the breasts 171 2 Kolamaj/a,Hayan & fat ofBhujanga are taken m equal quantity & pounded ,

the application gives the desired result172 167 4 iRf1 V£| 16|
y,cbg i

n ar 6-49

dtaftts FRFirt ifH Trnsdt

168 ^cbcblwiH

WI

'jftd

169#£Fft IPfa

II Ibid 6-50

MTOd I II Ibid 6-51

170

I II Ibid 6-52

171 4lRl4'-Srf-W-^-4I^IT§c|lRH4^cbH | ^ II Ibid 6-97

172

'TOT MT81 ^rl9T *T
taPf II Ibid 6-98

280

3 Sriparm juice is to be put in Tilataila & applied 173 4. Katutaila prepared with the paste of Dadimi is to be rubbed to the breasts 174 5 Sesumum oil, ghee of cow, juice ofArka & Bala, Syamalata, Lajjalu, Haridra, Daruharidra pastes along with ghee of cow & boiled on mild fire such an oil if used as nasal drops, the breasts are expanded 175 6.Medicated oil is to be prepared from Bala, 8s nee water,the dunking of which yields the desired result176 The above description clearly gives a view that the cosmetic & perfumery products were used m huge quantity m erotic remedies. This idea is witnessed m following verse :

II AR 7-43

5.1.4 Medicinal/Nutritive Gandhasastra can also be considered as a part or an associate of Ayurveda for the reason that the substances mentioned m cosmetic 85 perfumery Industry have nutritive or medicinal values. Accordmgly, 173

idtfcM yfqfcf 'MlTti'l

174

II AR 6-99 1^44414.1

y#

#fr

fqfafftpg 11 ibid 6-100

mn\

175 cto ferateef 7M 44

4dT SdlHMdf ojfrq f^T

176 4dldusddl^H

f^TTOTT II

nil 4lf% feTMdPT II Ibid 6-101&102

rfd^dl^rafe I y 4^dT

II Ibid 6-103

281

Gandhasara mentions the scope of Gandhasastra as Nrnam Pustikaram In this regard the history of Gandhasastra is closely connected with the history of Indian Materia Medica Many Ayurveda texts prescribe the recipes of cosmetic 85 perfumery products as healers of illness etc. For instance, Bhaisajya Ratnavah of Govindadasa (1200 A D) enumerates the Gandhadravyas normally to be used m preparation of perfumed oils such as Sri Visnutaila & Gandharajataila The common ar’omatic substances to be used m preparation of perfumed oils are enliseted m following verse-

i sfoprffcsf

II BR 26-295

It further mentions the preparation methods of Mahasugandha Tailam177 & Laksm 1 vilasatailam178 which are antidotes for all disorders caused by gas and mcrease one's intelligence 179

■qfr§

1

<*^Rcbl5^cfW^ihg4s TOT cj

178 spjct#

II BR 26-475 to 477

trap#f fte ps I

WR(FfTf

11

TW ^ cfaRIWTS II

feM THFnf^TT I gMsft ^

9F&I 3T

II Ibid 26-480,481

179 rf^ffe

w

^IciWcild I

cbi1%

$cr Rrpj;

Ibid 26-482

282

In 49th chapter, there is a prescription for Gandhataila which can be used both as medicine & as Cosmetic 180 The medicinal values of this are narrated as under trdffri *rcr Taj ^FTHT WCTg I WTTrr

rfSTTSf^cT II

mw

wiM

n br 49-27&2S

The Cosmetic values are also enumerated as under : 11 3^s[^r M'tlMirlH

I BR 49-29b&30a

1 e. it can ensure the growth of one's neck, shoulders & chest, and

one's mouth, shines like a lotus, u/ith fragrant breath This can be admmisterd as oral consumption, massage, nasal drops 85 enema,181

78th chapter of Bhaisajya Ratnavah mentions one more variety of

180 ti# ti# ter cpipj; gfe mm g

feT few

1

\m\t

ifbu qfeifeg 11

34s feTofxww

11

cfcictaft mmm ufesr snfeT wwt l f® nfetr 41# ?ld3tLH°4 43^ PcH^fe felfe I %teWT«fe c&cfe

tigged

wm ciftw

fe%g 34s 1 *ppr?p#

m

^cT 4W8 II

#4#

F%SI SPSMeb' W WWT WMigimfePT I

11

gtr

wwt

11

WgfeuPT II

feWT ^fldcbofe M13
STRWffegWTSpfeT II BR49-20to26

181 4«W 41% WWIS^ 4t% wfRTf Wtfeg II Ibid 49-29a

283

Gandharajataila which can be used as medicine 85 cosmetics 182 Susruta, m ancient India, was known for the surgical treatments He prescribes some post surgical activity which he calls it Pascadkarma In this treatment, it is said, the operated wound is to be fumigated with some aromatic ingredients 183 Some of women folk are encountering the problem of Menses. It is usually m the form of non-discharge of blood or excess discharge. The remedies for non-discharge (which is termed as Nastapuspa Samudbhavavidhi) are as under 1 Fallen Jyotismati leaves & Japa flower are to be pounded in water &

to be consumed.*1** 2 Equal quantity of Tandula, Devakastha and Durvapatra are pounded in water & administered for oral consumption185

182 to#

^1# e&cicft

si# i

e&ron# w 4iror 11

1 3 mim 11 TOWTl OT#T
tompt

wkrwgift 3*141# CRT fS

w

91# 4$ I TOT TOT cftcsn?

4*44643 11

39ft* 9Tlft4T TTOT TOTO fg4 ?Ff1 3TST9TOTT ##P#f WIcITOf 9ft% TO f##l#Tl f^MTTOcT 47JT I cTTTOH 4#TOT

4ld#ll9*r

W Hig#Tl%TO^;l %9p

4F!#9TC4gdTg II TOlf#§I II f9TdT##4TOFT II

Wimfd TOJ II

BR 78-14 to 21, Vide GSGV R T Vyas Appendix 8 p 149 8 S£#TO SS Su 5-18

183 184 W

vdMI^

#E4T Mcl

185

tT 4lf#lT I

m 3#

44cb|Sio^i cflftfe (qilm

11 ar 6-56

^#TO M TO4I W 3®T W#T TIT II Ibid 6-57

284

The remedy for excess discharge is known as Puspadhikyamvaranam Following are compounds 1

Pathya, Rasanjana, Dhatn-dll three are taken in equal quantity, pounded in water & consumed 186

2. Paste of equal quantity of Kapittha 8s Venupatra along with Madhu, when licked for seven days, then the problem will be solved 187

The medicinal usages thus are blended with cosmetic values The existence of medicinal properties in cosmetic & aromatic mgredients might have mspired Gangadhara to give a guideline for preparing the cosmetic 8s perfumery product m his Gandhasara as under Tfl4l4FFllcblR

m#RT§ 3F5ff2T ^ 1

S#HT SlffcT »

I 11 gs i - 87b to 89a

The idea of giving nutrition from cosmetic 8s perfumery products is extended even for the plants also. It is said, in order to yield the very good scent(aroma) m any particular flower the manuring must be made with the powders of Kustha,Patra,Mura,Musta,Tagara 8s Usira along with water 188 186 WRUISiFI STbft m

I n ar 6-58

187 cfito

wI

#5 t)HU?tuI4cKl

Ibid 6-59

188 fStrapgRT-

ii

^Tgfe(kan) p 169

285

For enhancing the scent of the Ketaki flower, the manuring should mclude the aromatised water also.189 Further it is said that any plant is to be manured with the aromatised soil to get good results

190

Thus, the cosmetic & perfumery Industry recieved a fillip because of royal patronage, religious, erotic

85

therapautic needs.

5.2 Regulations & Attitude of Dharmasastras and Smrtis for using Cosmetics & Perfumes Ancient Indian society was moulded on unique idea of Asrama life Traditionally, the life span of an individual is divided into four Asramasfstages) that one has to cross over gradually. This Asrama doctrine ensures a balanced(steady) life system so as to lead a purposeful life i.e Purusarthasadhana. This doctrine also prescribes certains duties

85

responsibilities along with rights to adopt nature-

friendly life system. The regulations of Asrama system play an important role m individual's Me so as to balance the social Me The four Asramas are Brahmacarya, Garhasthya, Vanaprastha & Sannyasa Brahmacarya is a stage of student-hood which is a formative period m the Me of an individual This is the time to get acquainted with the knowledge of all branches of learning Therefore, it is rightly observed 189 fcp#

II

190 ^TMT ^1^

II

Ibid p 169

286

fit]#5(kan) p 169

that one has to repay the debt of sages 1 e Rsirna in this stage through strict discipline 191 Garhasthya is the second stage in the life span. The Smrtis declared that this is most important of all Asramas for good many reasons. House holders are the persons who constitute the most important section of society This is the stage for procuring children, educate them & offering them to the society as good future citizens A Grhastha is usually engaged m vocation, service or profession and provides bread & money to the family & therby to the society. It is he who pays the tax to the government, who looks after children, and even the aged He is the person who provides social security to the members of family Vanaprastha is a state, wherem, the householder gives up all economic activities & devotes the time & energy for the service of the society Sannyasa is the the peak stage in which the person gives up all the worldly desires, family life & devotes the entire time, life & energy for the sake of enquiry about the supreme self. The Asrama concept was well known to ancient Indians and Kalidasa symbolically states the duties of the human beings m these four Asramas 192

191 (i)

t sniFifeMwi (u)

192

asirafei

fenw siiMt 3ft

l

ts

6-3-10-5 n ms 2-175

MtellHl II RAV 1-8 (Iter

te astefet fetes 1 #fr te ’pmmt fetes 1 tfe fetes 1 sfe - 'unwarfe tfe fetet fetes I ifwim 287

)

Though there is an importance to each Asrama, the stage of house holder is much upheld m the Smrti texts In some texts there is difference in the nomenclature and sequence of Asramas Apastamba Dharmasutra keeps Garhasthya m the first place 193 "Placing of house-holder first among the Asramas in Apastamba Dharmasutra probably on account of the importance of that stage to all other Asramas "says Dr.P.V.Kane.194Srimadramayana declares that Garhasthya is the noble among four 195 The importance of Grhasthasrama is praised m Manusmrti m the following way flf#§ 3^#

i

1 ##FT f^D# ft il MS 6-89

Generally, the Dharmasastra & Smrti texts are nourished m the deep rooted cultural soil of the country where they are being practised. Therefore, all activities connected with Asrama life are governed by mhented laws of the land.These laws are designed to strike a reasonable balance between individual & society. Accordingly, a peculiar concept called Adhikara Bheda i e. difference m rights, duties & ritual practices according to their social 85 intellectual status was introduced In accordance with this Adhikara Bheda, a Grhastha, being a partner of all economic activities, is usually entitled to enjoy all worldly pleasures. Kamasutra says untill the 193 3R3K 3PFIT *H#ZT

3H5Rqf#l ADS 2-9-21-1

194 HDS Vol II-part II P V Kane p 715 195 ^ifHl'WTT fit 41#^ %PTTWr IVR 2-106-22

288

completion of study one should not go for material enjoyments 196 The Artha

&

Kama are to be satiated m the stage of Garhasthya

Brahmacarya, being a stage of study, should be observed(lead) with strict principles So naturally all material enjoyments are prohibited m this stage.197 Vivaha Samskara is an entrance gate to get into material enjoyments. The matrimonial custom of cutting the betel-leaf roll(l/itika

)

as an amatoiy activity might be the symbol of this allowing the married to enter mto material enjoyment, as Tambula 1 e.betel chewing is one among the eight Bhogas (object of enjoyments) Smrtyarthasara, a Dharmasastra text of Sridhara(dated 11th -12CAD accordmg to P.V.Kane) gives the rules about the conduct of Brahmacari m which the use of perfumes, unguents, tooth- stick, Tambula etc is prohibited till the completion of his studies.198 Some other views regarding the use of Bhogas m general 85 cosmetics 8k perfumeiy in particular are as under 1 A Brahmacari is prohibited to use comfortable seat, bed, garment, Tambula , decoration after bath, tooth-sticks, perfumes etc199

196 197

I d

KS 1-2-6 Pil'd ttild Rd'MS I MS 2-177 Ibid 2-178

198 dd tdT-TyH^Jdd-d^f^-dT^-^ dfdd1dRtcH^-Rc]ItdlM Vide SICH-Vol I P K Gode p 136

199^pzntR dtd dl^f cRIcbia §4^1 ^

I ^qnpT II ftragtm quoted in SICH - Vol I Dr P K Gode p 134

289

2 According to Agmpurana, a person observing Upavasa (religious fast) is

forbidden to use the Bhogas 200 3 Asvalayana says that a person desirous of study, an ascetic, a widow, a

Diksita(one initiated for religious ceremony) and Vatu should not use Tambula 201Further it is said that excessive use of this leads to paleness, weekness of teeth,diseases of the eye&mouth and loss of vigour 202 4 According to Vasistha the use of any ingredient of Tambula singly or in

combination by an ascetic, a student, a widow & a woman in menses is equal to the use offlesh & wine 203 5 Itihasopamsad says that a person who offers annual oblations to his

ancestors on specific days should avoid the use oftooth-stick,Tambula, Abhyahjana etc,204 whereas, an exception is given to one who performs Nityasraddha (daily oblation to ancestors), Amasraddha (performed on newmoon day) & Aparapaksika Sraddha (performed in the second half of the month)205 200 pjffigrc

I

d

II AP 75-7

201 ferarartrsfasT cTFfyHlSFF

d § wkti

4 ^4

d tep^P^do II Quoted m SICH-Vol I

202 4F^r w&for siMd wotti cfifrtcT gsflW dl^lH^^cWrd II Ibid p 134

203 qfifcg gsrarft d telT d
204 5FddFFf dFfW #[TOF55Fr ^iFPTl

T^m 205

^

WBdf

II Ibid p 135

I %fcr §iran#5ir^ 11 ibid p 135

290

P K Gode p 134

6 According to Brhannaradiya quoted in the Acararatna a person of great

renown should avoid the use of Perfumes, Tambula and flowers for three days commencing withDasami 206 7 According to Visnurahasya, quoted in the Acararatna, a person observing

a Vratafa religious vow) including Ekadasi should entirely avoid the use of Abhyanga, application of unguents and Tambula,207 whereas, the

use ofTila and Amalaka is generally accepted 208 8 A woman in menses is not suppose to bathe, nor wear garlands, nor

anoint her body with scents for three days She should bathe on the fourth day, the bathing water should contain the herbs & aromatic materials explained in Pusyasnanam (Royal Ablution)209 9 Vasistha says aRajasvala is not suppose to makeup wdhAnjana&Abhyahjana ,the

performer of crnual oblation for Manes( Sraddhakrt) is also prohibited 210 10 Visnusmrti prohibites certain acts with reference to the wife of one's

Acarya (teacher), among them the Gatrotsadana (massage of the limbs) Ahjana (anointing her eyes), Kesasamyamana (arranging her hair),

Padapraksalana(washing her feet)are included;211 Manusmrti fully 206 39Fnft WT9TT81 Quoted in SICH-Vol I P K Gode p 134 207*11511^ farctof

sRRsfr c|^dl4 qHFra

I

ftricficr II Ibid p 136

208 RtollHdcMNtlH HMT Ptofafe 209 R fetW

HR

fldlcHWebsid p 54 ^181

II

<718 gJfadKdlfa^Plsnfts I IdMd

*RI8 H tR

||

jrr

BS 78-21,22 210

I

Sift

I

quoted in 4lHKll*lM p 23

211

MldldlWH

qRSraMdl<{lft R f^Tdl VS 32-6 291

agrees with this212 and extends these prohibitions even to the teacher's son 213

Thus, Dharmasastra & Smrti texts preached some regulations on the life styles of individuals to keep a harmonious balance between Dharma, Artha 8s Kama for civilized life This is to keep away a person from addiction to any sensual pleasures with the help his strong will Manu says

wm

sifriHuRd

n ms 4-16

5.3 Explanation of technical terminology Just like the other branches of learning, Gandhasastra too has many technical terminologies They are explained m glossaries 85 lexicons Amarakosa mentions good many mformation on the technical terms used m relation to Cosmetics 8s Perfumery. It begins with stating the procedure for cleaning one's body 8s decoratmg it with several designs m which Sandal -paste mixed with saffron was applied to the head, chest and arms etc The terms appeared Amarakosa are as under : Pankarma 8s Angasamskara are the two terms used for cleaning 8s beautifying the body , Marsti, Marjana and Mrja for wiping the body with cloth , Udvartana and Utsadana are used for cleaning the body with 2123TKlo3Fr FPFT W

]

^ cfiraPT %§TRT W 5RPRT I! MS 2-211 213

W WI d

1 II Ibid 2-212

292

Perfumed substances 214 Aplava, Aplava and Snana for bathing , Carca Carctkya and Sthasaka for decorating the body with sandle paste mixed with saffron etc.215 Prabodhana and Anubodha are used for revivmg the scent of an aromatic substance.216 The words Patralekha and Patranguh are used for saffron -marks or dots made on chest , Tamalapatra, Tilaka, Citraka and Visesaka are used for the mark made on the forehead 217 Sairandhrt is an independent woman-artist proficient m the art of personal decoration 214qMpTO WPli#(I ^1 SScfttencFf £

218

AK 2-1315

........................... II Ibid 2-1316

215 ..........£ 3% 31TOR 3IM48 I Ibid 2-1316

§ dira
fir

(airara snw;

if£ Urs rhw , ^

wrap's ffir Us wnfer

216 .........I AK 2-1317 .......... II Ibid 2-1317

Commenting on this ^Mlte.the commentator on waH states that if the smell of musk is faded, that can be revived by alchohol- £ wrtpt M^ilraRW- w

Vide

217 .........

^ II Ibid 2-1318

dHWM4RldcbRl4cblPi| (M^etaT ■qcqiR d
GSGV R T Vyas p 64

Mwil

Ibid 2-1319

t

,

crrto

ffcpjr ferer Mw

^Tcf Idcrt'h'W)

218

f^IvMcblRcbl I Ibid 2-1109 Here commentator

quotes a verse in his commentary as

under • qMfcfcTT II vide GSGV R T Vyas p 64

293

The blend of equal quantity of camphor, aloewood, musk and Kakkola is termed as Yaksakardama 219 Gatranulepani, Varti, Varnaka & Vilepana are used for painting the body 220 Curna and Vasayoga are the talcum-powders 221 Bhavita & Vasita are used for poundmg a substance m aromatic ingredients 222 The process of aromatisation is called Adhivasanam 223 Various method of usmg flowers and flower garlands on different parts of the body bear different names and mdicate the great variety of manners of personal decoration Amarakosa says that when a flower garland is worn on the crown, it is known as Malya, Mala & Srj , when placed m the midst of the hair it is called Garbhaka , when it hangs back m the hair it is known as Prabhrastaka , if worn on the forehead it is called Lalamaka , if it is suspended straight from neck it is known as Pralambam , if worn

219

AK 2-1339 quotes two verses in his commentary from anti & describing the preparation of :

puriRr w i ^ ^'KJpi^cki

COT I II #

I Vide GSGV R T Vyas p 64

220 TMFpMt c|R=Mcb RllfM’W1! I AK 2-1340 221

cIltPiFTTo

222....

. . .

I Ibid 2-1341

'RTfod 4TRrT BPf I AK 2-1341

(nifacf citfeT

17F«qs^ir ailkdFf)

223iwfr W 4l<*Ilt4s MtTctotFPTl Ibid 2-1342

294

obliquely(like the sacred thread)on the chest it is termed Vaikaksikam, when worn on head it is Apida or Sekhara 224 Racana and Panspanda are the two terms for the art of making flower garlands , Abhoga & Paripurnata are the terms for any personal decoration involving complex make-up 225 Samudgaka and Samputaka are the names for boxes for keeping articles of cosmetics, Pratigraha and Patadagraha stand for spitton226(also called Pikadant m some Indian vernaculars) Prasadhani and Kankatika stand for the comb used for dressing the hair , Pistata and Patavasaka means a dye for clothes.227 The 4& Varga of second Kanda of Amarakosa by name Vanausadhivarga enumerates the synonyms of trees, plants and creepers Most of their roots, leaves, bark, resin etc. are used as the raw- materials m the manufacture of various articles of Cosmetics & Perfumery 228 Gandhasara of Gangadhara also mentions the list of synonyms, m the form of glossary, of aromatic substances along with their properties, testing their genumess etc.229 Bhattotpala, the commentator of

224 km wra# Jpf

wms fsmraw

3

i

miw

1

g cRT l 4irt'4f4&a5# 225 TcRT

I AK 2-1343 to 1346 3TT»tFI8

qRw-qs, fft t

226

isgscjjg

227 UWHT cbgmi

qft
, airoks qR^fdi

qfajnfg

tossi ak

2-1351

teis qdciRIcb'3 | Ibid 2-1342

228 The text is reproduced in Appendix-4 229 Vide Appendix 3 295

Brhatsamhita, has given a glossary of aromatic ingredients m the

beginning of 77* chapter of Brhatsamhita containing their synonyms 230 Sabdakalpadruma gives following information on combination of incenses

(1) Pahcangadhupa is prepared from Candana, Kunkuma, Karpura, Guggulu & Aguru 231

(u) Sadangadhupa is consisting of Guggulu, Aguru, Usira, Sarkara, Madhu & Candana 232

(in) Asthangadhupa is having eight ingredients viz Guggulu, Aguru, Tejapatra, Malaya, Karpura, Valaka, Kustha & Kunkuma 233 (iv) Dasangadhupa

is consisting of Karpura, Kustha, Aguru, Guggulu, Malaya, Kesara,

Valaka, Patra, Tvak Jatikosa 234

(v) Dvadasangadhupa is from Guggulu, Candana, Patra, Kustha, Aguru, Kunkuma, Jatikosa, Karpura, Jatamamsi, Valaka, Tvak & Usira 235

230 The text is reproduced m Appendix 2

231.SFFT $g»T ^ ffragcRTS q^Erffg gjaJicTS ll SKD-Vol II p 800

232

I I SKD-Vol II p 800

sRnr I *TCT II Ibid p 800 233

c| ^ ciracp fs

-jcH

fp

araf* W

ii

pg n ibid P soi

234 35^

1 zms T5T

ii ^Tlft

235

rim

T*

SJT

iRrfg 11 Ibid p 801

fS WM$l W mm% II

SJltS# SKSTIfg Mcifridg I Ibid p 801

296

(vi) Sodasangadhupa is consisting of Guggulu, Sarala, Daru, Patra, Malaya,Hrvera, Aguru, Kustha, Guda, Sarjarasa, Ghana, Haritaki, Nakhi, Laksa,JatamamsJ Ss Sailaja 236

✓ Santikamalakara.a. digest on ritual practices, gives following information on technical terminologies 1 e Paribhasas. 1 A combination of Mura, Mamsi, Vaca, Kustha, Saileya, Haridra, Daruhartdra, Sati, Campaka & Musta is termed as Sarvausadhi

237

2 One more combination of Sarvausadhi mentioned here is Kustha,Mamsi, ✓

Haridra, Daruhartdra,Musta,Saileya,Candana, Vaca,Campaka & Musta

238

3 Sarvagandha is a product consisting of Karpura,Candana,Darpa( Kasturi) Kunkuma equally which is useful in worship of all deities

239

4 Another combination with similar name is Candana,Kunkuma,Aguru, Kasturika &Jatiphala

240

Vrataraja of Visvanatha Sarma, a compendium on various Vratas gives

236 33M ^ ^

35

to

wftacfr ^ arai ajzwito ffrCTT i

frw/vmr

wm fair w

ERtr

ii

ii

11

mr%9R3i w ?rai

fTTS^f

*p£i?r ^pcMcw ii

4lfclR^klcbKcbg || SKD-Vol II p 801

237 3«9l'd4H%43 I (i^W*Mcb3WI W l€^FM§ 238 cpg 41#

p 1

paft c^ippg II U^lMRKre quoted m $llfacbHdlcR p 1 epfl f|»T

tl^I^McPT 240

quoted in

JtlfleRI rp^PT I

4tfT 239 cp|t

II

MIWT I

II 9'lltatf lcbt p 1

3^413^1 ch^Rcbl 4ldl'-btflPl WPSPS 34dTS I WRPT quoted in 9llfacMdl4K p 1

297

following information 1

is a combination of Kasturi,

Catussama

2 4 3 1 ratio

Candana , Kunkuma & Karpura in

241

2 Sarvagandha is a combination of Karpura, Candana, darpa & Kunkuma m equal parts

242

3 A blend of Kasturi ,Aguru,Karpura, Candana &Kankola becomes Yaksakardama

243

4 Sarvausadhi is to be prepared from Kustha,Mamsi,Haridara,Daruharidra, Mura, s

Saileya, Candana, Vaca,Campaka & Musta

244

5 Saubhagyastaka is a mixture of lksu,Trnaraja,Ajaji,Dhanyaka,Goksira, Kusuma, Kunkuma

cS Lavana

245

5.4 Related information on Cosmetics & Perfumery Cosmetics

8b

Perfumery played an important role m ancient Indians'

lifestyles, belief,thoughts etc. Hence many information is available m the form of Maxims,

Subhasitas,

quotations etc that cannot be grouped under

any of the heads mentioned so far So such information is collected here. 241 cbfcjpebM

t to

II ffW 5R?HeR $lf§R8 tqilftpWT II VTR p 19

NS gives the same combination with varied proportions for under

cfitgft

as

sTOTS I

Slftl«W^«to1l$d*lliH Igto tog II NS 4-13 242

^

243

^ MI9'WT I totofcl to WdfbJWT II Ibid p 19 cRIT II totT W tofe topfeftos II Ibid p 19

244 gas 4i# toi t gtr fttoRRW n 245

^ tor#

W tartira II tow wr tnnw

m

totorragto li ibid P 19

298

Rps II ibid P 19 II

(i)

Candana Nyaya -

There is an interesting simile based on Candana (sandal) m the Sutras of Badarayana It is called Candananyaya 1 e. the simile of sandaloil Badarayana uses this illustration as the application of a drop of oil to one part of the body produces pleasant sensation m whole of it; so soul, abidmg m one part, 1 e m heart, is yet perceived as present m the entire frame.246 (u) Tambula Tambula was considered an important constituent of daily life. Displeasure was shown against the mouth not having Tambula m the following way :

’

-\

"\

commentary on ppftwr p 163

A special type of combmation of Tambula was also considered as a symbol of deep love m the following way

wrir

d^^M|icWH^3
Venkatanatha m his Saccaritraraksa records following quotation from a work called Visnutattva, wherem, he mentions the use of Tambula as

crfMcI I Vide

299

- cjtaFTS - P 46

an amatory practice 247 It readsST^tefcT 5=TFTS

I

cnosf^r rfl^i creoftg^Tg II

i.e Sesabhukti (eating the remining portion) is praised by sagesfas a token of extreme affection) , young men have a longing for Tambula from the mouths of young damsels

(m) Cosmetics & Perfumery materials have been utilized by the poets for narrating some instances m many Subhasitas Among them Kastun holds an important position (a) Kastun -Subhasitaratnabhandagara gives following Anyokti on Kastun

^m\°o

3M

II SRB p 247-57

i e.O musk you are neglected by a common man with a fear of slush,Don't worry, are not there kings on this land p

This Anyokti is on the form of musk which we usually get m slush form The following Subhasita explains indirectly the important of musk in following way : cbkjRcblf I!UII

I

^

n

srb p

58-i64

i.e.Ifl become the creator of the world, I will take away all the fragrant musk from the testicles of the Kasturi deer & place it on the tongue ofthe uilkans (The idea is that people kill the musk deer mercilessly to extract musk from their testicles If the musk is placed in the tongue 247 Vide

SICH-Vol I

P K Gode p 75

300

of villains, them people will cut off their tongues to extract musk & the world will no longer have to hear the bad speech of those villains)248 gqns gm fteFdfa cf d % cw^Rcwntas

I il

srb p si-6

Ifpeople have virtues, they will be known automatically The aroma ofKastun need not be proved by taking oaths.249 Kastun is also described as Sakalasurabhidravyagarvaprahari 1 e. conqueror of all perfumes. (b) Aguru The dictionary meaning of Aguru is light (not weight) Whereas, the poet highlights the capacity of Aguru m the following verse cr|

#c£r

i

sfRfcRi'I'sfir n

srb p 238-62

(iv) Sudrakamatakara (m Stridharma Prakarana) quotes a verse from Skandapurana,

wherem, many items are prescribed for a Sumangah Among them many are the items of Cosmetics & Perfumery It reads.250 SftST ffd td

dm I

fmw w

ffpr 11

ddRrmdt 11 248 English Translation is taken from Vidwan H V Nagaraj Rao's article Vide

The ConcePt of Beauty In the light of Cosmetics 8s Perfumes P 21

249 English Translation is taken from Vidwan H V Nagaraj Rao's article Vide

The ConcePt of Beauty In the light of Cosmetics & Perfumes P 21

250 Professor Kane’s Contribution to Dharmashastra Literature P 239 301

Dr.P K Gode enlisted following words related to Gandha as appeared m V.S Apte's Sanskrit English Dictionary : 251 (I) 4^13 - Pounded sandal-wood

(2) TRT - Black aloe-wood

(3)

(4) TpsiPf - Fragrant water

- A kind of perfume

(5) THOM -The wild lemon tree

(6) 4^4544 - Sulphur

(7) TRfTScfj - Mixture of 8 fragrant substances offered to deities varying m kind accordmg to the nature of the deity to whom they are offered (8)

- The musk-rat

(9)

- The vendor of perfumes

(10) 4l’-£ll<3*l(adj )- Rich m odour, very fragrant " (II) (13)

(14)

- The orange tree

"(Mb)

(12) 4F4454 - Sandal-wood

- The scent elephant " 4PT 44[ 4415114 4 fcTsfcT Mld&llS I

- A perfumer

(15) 44TR|g - The civet-cat

(16) WcfelRcbi - A female-servant whose bussmess is to prepare perfumes (17) ip&OTES - Aloe-wood

(18)

(19) 4l*4cbRicbi(rlR|cb|) - Musk

(20) ‘i^ldd - Fragrant oil

(21)

(22) 4F44lft4 - An epithet of Siva

- Aloe-wood

- A land of perfume

(23) 4RPfj%g -Musk

(24)4^H3>dg - Musk-rat

(25) WPlddi - A kind of Jasmine

(26)

(27) TFSTOtl^teRr - Turmeric

(28) 4l^m4ly|g - Sulphur

- A species of zedoary

(29) TF4f'l?T,TRlRr9l lldcbi - smoke of burnt fragrant resm, supposed to attract demons by fragrance 251 Vide SICH-Vol III P K Gode pp 8-10

302

(30) (32)

- Vetasa plant

(31)

-Flowers

- An mdigo plant

(33) TF?TO# - The Priyangu creeper , a bud of Campaka tree (34) Tpcfefcp-The mango tree (35)

- A large black bee,Sulphur , name of a mountam to the east of Meru renowned for its fragrant forests

(36)

-spmtious liquor

(37) WnM - Lac

(38) TRFFT - Musk deer

(39) TRftps - A bull

(40)

- A bud of the Campaka tree

(41)

- Preparation of perfumes

(42) WF - Myrrh

(43) FSJFFR - Turpentine

(44) TraTMS - Kmd of Jasmrne

(45)

(46)

- The Priyangu creeper

(47) FSraiFS - Musk deer

- The wind

(48) Filters - Wheat

(49) W-RT - The Sala tree (50) WZfij^T - A kmd of fragrant berry {Kakkola). (51)

- Musk-rat

(52)

(53) FSRTTO - Sandal,kmd of jasmine

(54)

(55)

- Musk - The musk shrew

- The white water-hly

(56)TPl6lRcbl - A female servant whose bussmess is to prepare perfumes c/4£|cb!R4)i

m 303

Conclusion Ever since stepping into the age of civilization, man has paid due attention to physical adornments Ancient Indians too had been m the practice of using items of Cosmetics & Perfumes accordmg to the standards or tastes of the time They were very particular about their toilet, bathing, shampooing and unguentmg. Accordmgly, there are references to many items of Cosmetics 8s Perfumes for giving additional charm to their personality, particularly among the ladies Indigenous Literature gives a vivid account of all these materials used m Cosmetics 85 Perfumery. So m the foregomg chapters a study is undertaken with the intention of identifying the ancient techniques of beautification, materials used 85 process mvolved as recorded m Sanskrit Literature. The study of various disciplines of learning helps us to recognise the height attained by the past generations so as to feel a sense of pride about the rich heritage 85 glory of the past It also offers us the quintessence of human experience m the concerned subject.lt indicates the growth of human mmd m the concerned discipline of study Such a historical enquiry is the barometer to record the progress of mankind. Indian scholarship m the past covered such a wide range that hardly any aspect of human activity is ignored. Gandhasastra 1 e science of Cosmetics 8s Perfumery is one among such disciplines of knowledge of ancient India. 304

Generally, scholars opine that all our hopes of the future depend on a sound knowledge of the past The noted historian Schiller says “The genuine history of mankind is its history of ideas” Accordingly, the present study is an attempt to recollect the oriental ideas on manufacturing & usage of Cosmetics & Perfumes Here, an effort is made to bridge the gap between ancient thoughts on beautification 8s present day possibilities m usmg them It is said that each 8s every activity or Sastra i e discipline of study must have some definite objective if it is to be accepted by the public at large.The following verse substantiates this

fl mm wfr msfa trataR

3m cTFR| dd

i ^ II

In this background, Gandhasastra i e the science of Cosmetics & Perfumery has been developed to cater the needs of all walks of people, especially the rich class The purposes & nature enlisted m the earlier chapters can be summerised as under 1 It is helpful m religious activities Many cosmetic & perfumery ingredients are proved as accessories of ritual practises of ancient India Therefore, Gangadhara, the author of Gandhasara, has rightly observed as Arcavidherarpakam 2 The scope of Gandhasastra is not only restricted to religious activities, but also extended to the requirements of royal enjoyments and the 305

people of refined taste The tendency of using the cosmetic & perfumery ingredients by the anstocrate people might have inspired Gangadhara to observe as Nrnarp Pustikaram & Rajham Tosakaram 3 Usually Cosmetic & perfumery products are costlier in nature Market

research made clear that various creams like antiaging creams, anti­ marks creams, wrinkle reducing creams etc all costing in hundreds 1 Visnusarma, the author of Pahcatantra, vouched the prosperity of the

dealers in Cosmetics & Perfumes long back 2 Likewise, Nityanatha, the author of Rasaratnakara, also observed their lucrative nature 3 Gangadhara condenses this idea in the line Svasyapyalaksm iharam 4 The use of cosmetic & perfumery products create an atmosphere

favourable for creating passion Therefore many erotic texts prescribe profuse use of these products They even help in promoting sexual desire, stimulation etc Erotic texts explicitly mention their capacity to create love among the beloveds.4 Gangadhara, therefore, mentions the scope of this as Vidagdhavamtacittapramodapradam 1 New Indian Express-Health suppliment dated 11-9-2007 2 WPTT

'
3

ddftd

c^ScFT

■'HcwiprcK dcdl&I

4

gsnjcT

PT 1-13

sh

%

434% dFT fcr$|6|lfcb
fTMT

R^TcT II

p

TpddTC

dr1^Rl<& WJR4WT WR

(l) WjR&d

(n) dHlfacPSMWI 3MI

|

l^dHW II RSR-Rddhikhanda( Vadikhanda) 19 -1 I cfilPHT

sftfrFddd

WdTS I 'cK«big«S8

# 11 AR 7-43

II NS 4-1

306

5 The application of these products in broader perspective has widened

the scope of Gandhasastra Gangadhara, therefore, rightly mentioned as Trivargaphaladam 6 All activities of ancients must turn towards the liberationfrom bondage

Moksa is the prime goal of all branches of learning Accordingly, the seers ofyore have noticed the inter connectivity of each & every Sastras This vision helped them to keep every Sastra in high veneration & realise that these are the progressive steps in attaining Moksa Accordingly Indian Puramk tradition have noticed the scope ofGandhasastra as Gandhe Moksah Pratisthitah 5 Gandhasastra, being an accessory to the beauty, has entered to the field of Art also Bharatanatya, a Performing Imitative Art {Avasthanukrtirnatyam

- Dhanahjaya in Dasarupaka), consists four sections of expressions in which Aharyabhmaya is also one.As an act requires the imaginative world, it uses many make-ups for the artists Here plenty of cosmetic & perfumery products are used.Making Tilaka & Patralekha designs on cheeks, decorating eyes with collyrium applications of lipstics & coloring the teeth are some of the green-room activities directly related to Gandhasastra Natyasastra of Bharata mentions such designs of cosmetic & perfumery products 6 5

*KT I

6 (l) frfficfiTg

^

(n)

3I#TT I NB 23-27 i

cFttftt

werg'rf

w ii ibid 23-28

307

sfdfelS II KP 73-55

Another important feature of Gandhasastra of ancient period is that it is bemg treated as a part of Indian medical science i.e. Ayurveda So, beauty 8s health care became the two faces of same com Even the moder experts say that a good diet 8s hygiene give the desired results in beauty perfections 7 The distinctive feature of ancient Gandhasastra is that the cosmetic 8b perfumery products (specially plant based products) of the yore are organic m nature Plants have proved to be friends of men from the remotest antiquity Moreover, some formulae(compounds) of our traditional Gandhasastra can be used easily without subjectmg the raw materials to any complex processes For instance,the following prescriptions are easy to use 1 Rajani 8s Raktacandana pounded in buffalo’s milk and to be applied on the face which removes darkness of the face

cfjcT

ll KR 5-56 (Vide II chapter fn no 173) /

—

2 One should gargle with Ghrta and Kahjika and then consume Sati, then it would eradicate offensive breath

11 KR 5-38 (Vide II chapter fn no 180) 7 Dr Knpa Shankar opines in “Health supplement’ - New Indian Express Dtd 11-9-2007

308

3 One who takes internally a Pala of Nimbataila every day for a month, his grey hair gradually becomes as black as bee Mite

zrgi

jperrs %STT8

CM

II AR 6-88 (Vide II chapter fn no 262)

4 On applymg the juice of the leaves of Tiktapatola for three days cures baldness ^Rd
l f^T|pFT 11 SS 3-1-20b & 21a (Vide II chapter fn no 74)

5. For the preparation of Gandhataila under Suryapakavidhi. Here a garland of scented flowers is to be dipped in oil & kept m Sun light for a day , then that garland is to be taken out 85 newer on is to be kept till the oil becomes very fragrant

mm

II

4MT cf?T

^4ch
RdW I

3SM I

pq^rfM^To II GS 2-4-17b to 19 (Vide II chapter fn no 77)

There are many such references which can easily be taken for day to day usage. The following information given by Gangadhara m his Gandhasara is really acceptable Gangadhara says

One has to blend the perfumes

only after knowing their nature of agreeability, neutral or contradiction ?Tpi##t5#T <3WicSfT

?nwr ^Rdrubsrr I

m

^

ll gs 1-62

309

He further suggests us to adhere to the tradition of experts m Gandhasastra to blend the perfumes

The above information is the keyword for the manufacturers of cosmetic & perfumery ingredients This information is relevant even today The consequences of human’s reckless attack on Nature for producing consumer goods has led to an erratic manifestation of large scale devastation 8m destruction. Ruthless commercial exploitation of nature has rendered the whole ecosystem irrepairable So now world market is looking for new cosmetic 85 aromatic agents India has every potential to introduce such natural diversity to the Western world. In this process a revival of our great tradition is essential The oriental ideas can contribute m this regard This study may serve as a reference material for attemptmg to produce new line of products & thereby contributing to the society The health care system of the World is on the cross- roads today People want to have a wholesomeness m treatments Ayurveda, the science of life, is holistic m nature 8m can meet the demands of the present day. Today, consumer product companies are capitalizing on traditional knowledge to develop a new cosmeceutical and nutraceutical products So the knowledge of tradition should be

310

strengthened by establishing the link between these academic area 8s industry , thereby we can compete m global health scenario. A country can prosper only when it has its own(Indigenous) knowledge on life styles integrated well with the eco systems Ancient Cosmetics & Perfumeiy products are safe, healthy 85 eco-friendly m nature. Even the processmg 8s manufacturing system rely on organic mputs 85 animal products rather than synthetic ones. Natural 85 organic skin care techniques are becommg popular due to proven hazards of synthetic combinations of Cosmetic products Ancient science on Cosmetics 8s Perfumery is holistic m nature which ensures good environment, fertility of the soil & protects biological diversity It also protects the consumers or users from hazardous effects of chemicals This is an attempt on need oriented research m order to assist the mdustnes in gathermg the views of our heritage on Cosmetics 8s Perfumes The mother nature has given the items of fragrance as gift The present study helps m finding

85

analysing such gifts which are

summensed m the heading of Gandhasastra or Gandhavadah from remotest antiquity 8s presenting them to the modern society for the needful usage. This study also enhances our respect towards plants This study not only supplements the picture of ancient Indian society but also helps m studymg the commercial relations of India with other countries. 311

These sources being the part of cultural attainments, serve information to reconsruct the history of cultural heritage of India. This historical enquiry m the subject of Cosmetics 85 Perfumes excite our curiosity & a sense of wonder about the past & this curiosity is the key to all progress. It also gives us limitless pleasure by making us to know the richness 85 variety of life of our ancestors. This knowledge of the past is capable enough to solve the present day problems I hope this study contributes to the field of knowledge m respect of using Cosmetics 8s Perfumes This study may also be helpful to manufacture the cosmetic & perfumery items by the present day manufacturing companies on eco-friendly basis Let the spirit of Indian Heritage pervade m the whole country The present study on Gandhasastra 1 e. the science of Cosmetics 8s Perfumery can be concluded by quoting the following verse from Srimadvalmikiramayana [Ayodhyakanda 94-14)

312

APPENDIX-1 Plant’s Names & their Scientific (Botanical) Names 1 Abhaya

Termmalia chebula

2Agada

Saussurea lappa clarke

3 Aguru

Aquilaria agallocha

4 Aja

Ocimum amencanum

5 Aksa

Termmalia belenca

6 Alambusa

Sphaeranthus mdicus

7 Amra

Mangifern mdica

8 Ambu

Coleus Vettiveroides

9 Amalaka

Emblica officinalis

10 Ambuda

Cyperus rotundus

11 Amaya

Saussurea lappa

12 Anjana

Memecylon Umbellalum

13 Ankola 14.Apamarga

Alangium salvifolium -

Achyranthes aspera

15 Aparajita

Clitona ternata

16 Arista

Xanthium strumarium

17 Arjuna

Termmalia arjuna

18 Aragvadha -

Cassia fistula

19 Asana

Bndelia montana

20 Arka

Calotnpis gigantea

21 Asoka

Saraca mdica

22 Asvagandha-

Witchania somnifera

23 Avalguja

Psorelia corylifolia

24 Asvattha

Ficus religiosa 313

25 .Atasi

Lmum usitatissimum

26 Atimuktaka

Chrysanthemum mdicum

27 Badara

Zizyphus mauntiana Lam

28 Bakula

Medlar Memusopselengi

29 Bakuci

Psorelia corylifolia

30 Bala

Sida cordifolia

31 Balhtka

Crocus sativus

32 Bhadra

Acorus Calamus

33 Bhadramusta 34 Bhallataka

Semecarus anacardium

35 Bhramara 36 Bhrngaraja

Eclipta prostrata -

37 Bhujanga 38 Bijapuraka

Cyperus tuberosis

Eclipta alba Mesua ferrea

-

Citrus Medica Lmn.

39 B//ya

Aegle marmelos

40 Bimbi

Coccmia mdica

41 Brahmi

Centella asiatica, Bacopa monnira

42 B/haf/

Solanum mdicum

43 Cakramarda -

Cassia tora

44 Campaka

Michella champaka

45 Canaka

Cicer arietmum

46 Cat/ra

Angilica glauca

47 Candana

Santalum album

48 Chmnaruha

Tmospora cordifolia

49 Cinca

Tamarmdus mdica

50 Coraka

Angelica Glauca Edgew 314

51 Citraka

-

Plumbago zeylanica

52 Cuta

-

Mangifern mdica

53 Data

-

Cmnamomum tamala

54 DantJ

- Baliospermum montana

55 Darbha

-

Desmostachaya bipmnata

56 Dadima

-

Pumca granatum

57 Daruhandra

- Berbens aristata

58 Darumsa

- Berbens aristata

59 Dam

- Berbens aristata

60 Devadaru

- Cedrus deodara

61 Devakastha

- Cedrus deodar

62 Dhatturaka

-

Datura metel

63 Dhyamaka

-

Cymbopogan Schoenanthus

64 Dhanya

- Coriandrum sativum

65 .Dhatri

- Officinalis emblica

66 Drai/a

- Croton tiglium

67 Drona

- Leucos cephalotes

68 Dun/a

- Cynodon dactylon

69 Ela

- Elettana cardamomum

70 Eranda

- Ricmus commumis

71 Elavaluka

- Prunus Cerasus

72 Gandharasa

-

73 Gaurasarsapa -

Commiphora myrrha Smapis alba

74 Ghana

- Cyperus rotundus

75 Ghananada

- Amarantus spmosus

76 Girikarmka

- Clitona ternatesa

77 Goksura

- Tnbulus terrestins 315

78 Granthika

- Vallerma Wallachi

79 Grhakumari

- Aloe vera

80 Ghusrna

- Crocus sativus

81 Guggulu

- Commiphora mukul

82 Gundra

- Typha elephantiana

83 Gunja

- Abrus precatonus

84 Harenu

- Pisum sativum

85 Hancandana

- Santalum album Lmn.

86 Haridra

- Curcuma longa

87 Haritaki

- Termmalia chebula

88 Hema

- Michella Champaka Lmn

89 Hihgu

- Asofoetida - Ferula foetida

90 Hribera

- Pavoma odorata

91 Indravarum

- Citrullus colocynthis

92 1ridi vara

- Nelumba nucifera

93 Ingudi

- Balanites aegyptiaca

94 //fstv

- Saccharum offlcmarum

95 Iksvaku

- Lagenaria siceraria

96 Iravati

- Sida veromcafolia

97 Jala

- Coleus vettiveroides

98 Jaladhara

- Cyperus rotundus

99 Jambira

- Citrus limon

100 Jambu

- Syzygium cummi

101 Japa

- Hibiscus rosa-smensis

102 Jata

- Nardostachys jatamansi

103 Jatipatra

- Mynstiea fragrance Houtt. 316

104 Jimuta

Cyperus rotundus

105 Jiraka

Cuminum cyminum

106 Jivaka

Brindila Moutana

107 Jivanti

Leptadema reticulata

108 Jyotismati

Cardiospermum halicacabum

109 Kaccura

Curcuma zedoaria

110 Kadah

Musa paradisiaca

111 Kadah

Musa sapientum

112 Kakoh

Luvunga Scandens Roxb

113 Kamaia

Nelumbo nucifera Gaertn.

114 Kana

Piper longum

115 Kanaka

Michella champaka Lmn.

116 Kapikacchu

Colocasia Esculenta

117 Kapittha

Feroma limonia

118 Kakatundi

Kakamukha - not Identified

119 Kakamaci

Solanum nigrum

120 Kalhara

Nelumbo nucifera Gaertn

121 Kahyaka

Coscmium Fenestratum

122 Kancanaparm

Bauhmia variegata

123 Kankola (Kakkola) -

Piper cubeba Lmn

124 Kantakari

Solanum surattense

125 Kanta

Meconopsis aculeata

126 Kanya

Aloe barbadensis , aloe mdica

127 Karanja

Pongamia pmnata

128 Karkata

Rhus succedanea

129 Karkatasrngi

Pistacia mtegemma stew 317

130 Karavira

- Nerium mdicum

131 Karpura

- Cinnamomum camphora

132 Kasa

- Saccharum spontaneum

133 Kasmari

- Gmelina arborea

134 Katu (ka)

- Hibiscus abelmoschus

135 Kesara

- (Saffron), Crocos sativus

136 Ketaki

- Pandanus tectorms

137 Khadira

- Acacia catechu

138 Khakhasa

- Papaber somniferum

139 Kimsuka

- Butea monosperma Taub

140 Kinva

- Sacchrumyces ceravisiae

141 Kodrava

- Paspalum scrobiculatum

142 Kola

- Zizyphus mauntiana Lam

143 Kosataki

- Luffa acutangula

144 Ksema

- Angelica glauca or Fagonia Cretica

145 Krsna

- Piper Longum

146 Krsnajiraka

- Nigella sativa

147 Krsnadhattura - Datura fastuosa 148 Krsnaguru

- Aqularia agallocha

149 Ksudra

- Solanum xanthocarpum

150 Kukuraka

- Taxus Baccata

151 Kulittha

- Dohchos biflorus

152 Kumuda

- Nymphaea alba

153 Kunduru

- Boswelia serrata

154 Kunkuma

- Crocus sativus

155 Kurunta

- Striga lutea 318

156 Kusa

- Desmostachya bipmnata Stapf

157 Kusumbha

- Carthamus tinctorius

158 Kunduruka

- Boswellia serrata or thurrfera.

159 Kustha

- Saussurea lappa

160 Kustumburu

- Coriadram sativum

161 Kutaja

- Holarrhena antidysentenca

162 Kuvalaya

- Nymphaea stellata

163 Laghu

- Aquilaria agallocha

164 Lata

- Cynodon dactylon Lmn.

165 Lavanga

- Syzygium aromaticum

166 Laiigah

- Glonosa superba

167 Lamajjaka

- Andropagon Iwarancusa

168 Lodhra

- Symplocos racemosa

169 Madhugha

- Bassia latifolia

170 Madayantika - Lawsoma mermis 171 Madhyaphahm - Prunus mahaleb Lmn. 172 Madana

- Randia dumetorum

173 Madhavi

- Hiptage benghalensis

174 Mahogra

- Eambelia nbes Burn

175 Malaya

- Santalum album

176 Manjistha

- Rubia cordifolia Lmn

177 Manca

- Piper nigrum

178 Maru

- Origanum majorana

179 Maruvaka

- Origanum majorana

180 Mayurasikha

- Actmoptens dichotoma

181 Marubaka

- Marjorana hortensis 319

182 Masura

- Lens culinaris

183 Mayurasikha

- Actmoptens dichotoma Bedd.

184 Majuphala

- Quercus infectoria

185 Malati

- Jasminum officinale

186 Mamsi

- Nardostochys jatamamsi

187 Masa

- Phaseolus mungeo

188 Masaparru

- Teramnus labialis

189 Matulunga

- Citrus medica

190 Misi

- Foenculum vulgare

191 Mrdvika

- Vitis vinifera

192. Mrgamada

- Musk

193 Mucukunda

- Pterospermum acerifolium

194 Mudga

- Phaseolus aureus

195 Mudgaparm

- Phaseolus trilobus

196 Mura

- Sansevieria roxburghiana

197 Murva

- Sanseviera Roxburghians

198 Musta

- Cyperus rotundus

199 Musall

- Curcuhgo Orchioides

200 Muttha

- Cyperus rotundus

201 Naktamal

- Pongamia Pinnata

202 Nalada

- Nardostychis jatamamsi

203 Nata

- Valeriana wallachn

204 Nagavalll

- Piper betel

205 Nagabala

- Sida spmosa , S. veromcaefoha

206 Nagakesara

- Mesua ferrea

207 Nan

- Medicago sativa 320

208 Narikela

- Cocos rrucifera

209 Nth

- Indigofera tinctona

210 Nildtpala

- Nymphaea stellata , N nouchali

211 Nimba

- Azadirachta indica

212 Nirgundi

- Vitex negundo

213 Ntsa

- (Turmeric), Cucuma longa

214 Nisadvaya

- Haridra & Daruhandra

215 Padma

- Nelimbo Nucifera

216 Padmaka

- Pranus cerasoides

217 Palasa

- Butea monosperma (Lam)

218 Patanga

- Caesalpima sapan Lmn

219 Pathya

- Terminalia chebula

220 Patola

- Trichosanthes dioica

221 Patra

- Cmnamomum Zeylanicum

222 Payasya

- Ipomoea digitata Lmn c - Anogeissus latifoha Wall

223 Pandura

224 Pandavataru - Terminalia arjuna 225 Pate//'

- Schrabera swietenioides Roxb

226 Parijata

- Nyctanthes aroortristis

227 Parisa

- Thespesia popuilnea Soland ex Corr

228 Pate

- Cissampelos pareira

229 Pate/a

- Stereospermun suavelens DC

230 Picumarda

- Azadirachta mdica

231 Pilutaru

- Salvadora persica Lmn

232 Pikaksa

- Asteracantha longifolia (Lim)

233 Pippah

- Piper longum Lmn 321

234 Pisuna 235 Plaksa

- Crocus sativus Ficus Infectona

236 Prapaundarika - Pundrahva - not identified 237 Priyala

- Buchanania lanzan

238 Priyangu

- Prunus mahaleb Linn

239 Punarnava

- Boerhaavia diffusa Linn

240 PUga

- Areca catechu Linn

241 Punnaga

- Colophyllum mophyllum Linn

242 Pura

- Commiphora mukul

243 Puskara

- Costus speciosus

244 Puskaramula

- Inula racemosa Hook.

245 Putikaranja

Caesalpima crista Linn

246 Raktacandana - Pterocarpus santahnus 247 Raktarka

- Calotropis Gigantia

248 Raktika

- Abrus Precatonus Lmn

249 fla/a

- Shorea robusta

250 Rambha

- Musa Paradisiaca Lmn

251 flasa

- Commiphora myrrha

252 Rajavrksa

- Cassia fistula

253 /?a*7

- Curcuma longa

254 Rodhra

- Symplocas racemosus

255 Rddhi

- Habenaria intermedia

256 Rsabhaka

- Microstylis mucifera

257 Sahara

- Symplocos racemosa

258 Saha

- Hibiscus tiliaceus

259 Sahacara

- Barleria Pnomtis 322

260 Sahadevi

Vernonia cineria

261 Sahakara

- Mangifera indica

262 Samdhava

Rock salt

263 Sarja

Shorea robusta - Prosopsis cineraria

264 Sami

Alstoma scholans

265 Saptacchada266 Sarala

- Pinus Roxburghn

267 Sarjarasa

■ Vatena indica

268 Sarapunkha

--

269 Sarsapa

- Mustard, Brassica campestns Crysanthemum mdicum

270 Satapatra

- Hemidesmus mducus

271 Sawa 272 Satapuspa

Tephrosia purpurea

-

273 Satavan

Pimpmella Anisum Asparagus racemosus

274 SathJ

Hedychium spicatum

275 Saf/'

Curcuma zedoaria

276 Saileya 277 Sa/a

- Permalia perdata Shorea robusta

278 Salmali

- Bombax ceiba

279 Sevya

- Vettivera zizanoides

280 S/ya

- Cmnamomum tamala

281 Siddharthaka-

Smapis Alba

282 S/grri/

Mommga oleifera

283 Simhi

Solanum mdicum

284 S/r/sa 285 .S/i/a

- Albizzia lebbek Cmnamomum tamala 323

286 Sonayasti

- Oroxylum mdicurn

287 Snuhi

- Euphorbia nenfolia

288 Sprkka

- Tngonella cormculata

289 SrJcandana

-

Santalum album

290 Snngi

- Rhus succedanea Lmn

291 Sriphala

-

292 Srivasa

- Aegale marmelos

293 Sthagara

- Valeriana wallichn

294 Sthauneyaka

- Taxus baccata Lmn

295 Sugandhi

Aegale marmelos

- Pterocarpus marsupium Roxb

296 Sukahva

- Corallocarpus epigaeus

297

- Zingiber officinale

298 Suradaru

-

Cederus deodar

299 Syama

-

Ipomea terpethum

300 Syamalata

- Ichnocarous frutescens

301 Tagara

- Valeriana wallichn

302 Tamala

Cmnamomum tamala

303 Tandula

- Oryza sativa

304 Tala

- Borassus flabellifer

305 Tatisa

- Taxus baccata

306 Tambula

- Piper betel

307 Tejapatra

- Cmnamommum tamala Nees 8s kberm

308 Tila

- Sessamum mdicum

309 Tiktapatola

- Tnchosanthes diocia

310 Tmtidika

- Tamarmdus Indica

311 Trayamana

- Ficus heterophylla 324

312 Tnkantaka

- Tribulus terrestns

313 Trivrta

- Operculma turpethum

314 Tulasi

- Occimum sanctum

315 Turuska

- Olibanum Tree

316 Tuvanka

- Hydnocarpus Wightiana

317 Tvak

- Cinnamomum zeylanicum

318 Udumbara

- Ficus glomerata Roxb.

319 Usira

- Vetivena zizanioides

320 Utpala

- Nymphaea stellata

321 Vaca

- Acorns calamus

322 Vajri

- Fuphorbia nerifolia Lmn

323 l/ala

- Pavonia odorata Willd

324 Vamsalocana

- Bambusa bambos

325 Varnaka

- Mallotus philippensis

326 Varuna

- Crataeva murvala

327 Vasa

- Adhatoda vasica

328 Vata

- Ficus benghalensis

329 l/afar/

- Ricmus Commumis Lmn

330 Vakuci

- Psoralea corylifolia

331 Valaka

- Pavonia odorata

332 Vaikankata

- Gymnospona Spmosa

333 Vibhltaki

- Termilalia bellenca

334 Vidanga

- Eambelia nbes Burn

335 Vteam

- Aconitum ferox

336 Visvesvari

- Hibiscus mutabilis

337 Vrddhi

- Dragia Involucerata

338 Vrscika

- Boerhaavia diffusa Lmn

339 Vyaghranakha

- Euphorbia Antiquorum 325

340 Yastimadhu

-

Glycyrrhiza glabra

341 Yuthi

- Jasmmum Auneculatum

342 Yava

-

Hordeum vulgare Animal Products 85 Minerals

1 Gorocana

- Ox gall; Ox bile

2 Ghrta

- Cow’s ghee

3 Ajya

- Cow’s ghee

4 Bola

- Myrrh

5 Nakha

- Fragrant shell

6 Laksa

- Lac

7 Lohakitta

- Iron flax, waste of molten iron

8 Madhu

- Honey

9 Jaft/

- Shell lac

10 Gairika

- Red ochre

11 Haritala

- Orpiment

12 Yavaksara

- Alkali from barley straw

13 S//a

- Realgar

14 Smdhura

- Red oxide of lead

15 Sihla

- Altmgia excelsa

16 Kasturi

-

Musk

326

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