Bharata Muni
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1/ I will tell you in order, O brahmins, about costumes and makeup, for on them depends the entire production [of the play].
2/ External representation (āhāryābhinaya) contains rules for costumes and makeup (nepathya). Anyone who desires success in a dramatic production must pay attention to them.
3/ Different types of characters, primarily denoted by their costumes and makeup, easily carry out the performance through gestures and the like.
Four types of costumes and makeup
4/ Costumes and makeup are of four kinds: model work (pusta), ornamentation (alaṃkāra), body painting (aṅgaracanā), and [the use of] living beings (sañjīva).
Four types of model work
5/ [Of these] model work is of three kinds and various forms. These are: the connected object (sandhima), the pointing object (vyajima), and the moving object (ceṣṭima).
6/ A model work made of matting, fabric, leather, and the like is called a joined object (sandhima).
7/ That which is made by means of a mechanical device (yantra) is called an indicating object (vyajima), and that which can be set in motion is called a moving object (ceṣṭima).
8/ Hills, chariots, tall palaces, shields, armor, flagstaffs, and elephants made for use in a dramatic performance are called model works.
Ornaments
9/ Ornaments (alaṃkāra) consist in the varied attachment of flower garlands, jewelry, and drapery after observing the rules pertaining to the different parts [of the human] body.
Garlands
10/ There are five kinds of garlands: encircling (veṣṭita), spread out (vitata), gathered into bunches (saṃghātya), tied in a knot (granthima), and hanging down (pralambita).
Four kinds of ornaments
11/ Experts know that bodily ornaments are of four kinds: those fixed by piercing (āvedhya), those tied on (bandhanīya), those slipped on (prakṣepya), and those applied (āropya).
Pierced jewelry
12/ [Of these] ornaments that are fixed by piercing are ear ornaments, such as earrings (kuṇḍala).
Attachable ornaments
The bindable (bandhanīya) include belts (śroṇi-sūtra) and an armlet (aṅgada).
Worn ornaments
13/ Adornments worn (prakṣepya) are ankle bracelets (nupura), as well as garments.
Nakladyvayemyye ukrasheniya
The superimposed (āropya) include a golden neck chain (hema-sūtra) and necklaces (hāra) of various kinds.
Ornaments according to place of habitation and tribal origin
14/ Now I will tell about the varieties of ornaments for men and women according to their place of habitation and tribal origin.
Men’s ornaments
Head ornaments
15/ The crest-jewel (cūḍāmaṇi) and the crown (mukuṭa) are called head ornaments.
Ear ornaments
The earring (kuṇḍala), the ear pendant (mocaka), and the ear stud (kīla) are ornaments for the ears.
Neck ornaments
16/ Necklaces of pearls (muktāvalī), harṣaka, and the [golden] thread (sūtra) are ornaments of the neck.
Finger ornaments
And the kaṭaka and the ring (aṅgulīya-mudrā) are ornaments of the fingers.
Ornaments of the forearm
17/ Hastavī and valaya are ornaments of the forearm (bahu-nāli).
Wrist ornaments
And the bracelet (rucikā) and the cūlikā are ornaments of the wrist.
Ornaments above the elbow
18/ Keyūra (shoulder bracelet) and aṅgada (armlet) are ornaments worn above the elbow.
Chest ornaments
And the triple necklace (trisara) is an ornament of the chest.
19/ A hanging pearl necklace, a flower garland, and the like are ornaments for [the whole] body.
Waist ornaments
And the talaka and the golden thread (sūtra) are ornaments of the belt.
20/ Thus should ornaments be used for men in the case of gods and kings. Now I shall speak of ornaments for women.
Women’s ornaments
Head ornaments
21-22/ Śikhāpāśa, śikhāvyāla, piṇḍipātra, crest-jewel (cūḍāmaṇi), makarikā, pearl net (muktā-jāla) with large meshes (the size of a cow’s eye), and [the ordinary] hairnet (śīrṣajāla) are ornaments of the head.
22-23/ The tilaka on the forehead should be created with numerous skillful strokes, and the group of patterns above the eyebrows should imitate flowers.
Ear ornaments
23-26/ The ornaments of the ear are kuṇḍala, śikhipatra, a lotus of the braid [of hair] suspended on a thread, karṇikā, karṇavalaya, patrakarṇikā, aveṣṭikā, karṇamudrā, karṇotkilaka (ear stud), suspended on a thread, various kinds of dantapatras adorned with gems, and karṇapūra.
Tilaka and patralekhā are decorations of the cheeks.
Adornments of the eyes, lips, and teeth
26-30/ Triveṇī is to be known as an ornament of the chest. Both eyes should be lined with collyrium, and the lips should also be colored. The teeth will have various colors, and four of them may possess whiteness. Colored with turmeric, their beauty increases. Pearl-like teeth of beautiful young women adorn their smile, and teeth colored with the hue of lotus petals will be charming, while lips colored with the hue of stone will acquire the beauty of a flower. And a languid glance will constitute their allure.
Neck ornaments
30-31/ Pearl necklace, serpentine row (vyāla-paṅkti), mañjari, string of gems, necklace of gems, and neck chain (sūtra) are ornaments of the neck.
31-32/ A necklace of two, three, or four strands, as well as a [gold] chain, is an ornament for the neck.
Chest ornaments
32-33/ Necklaces of the most skillful workmanship should be ornaments of the chest.
A net of gems is an ornament for the back.
Ornaments of the hands and fingers
33-34/ Aṅgada (armlet) and bracelets (valaya) are ornaments of the upper part (that is, the base) of the arms.
Kharjūra and ucchitikā are ornaments of the forearm. Also kalāpī and kaṭaka.
34-35/ Hastapatra, puraka, and the ring (mudrāṅgulīyaka) are ornaments of the fingers.
Hip ornaments
35-36/ Kañcī with a pearl net, talaka, mekhalā, raśanā and kalāpa are ornaments of the hips (śroṇi).
36-37/ Kañcī is [a girdle] of one thread, mekhalā — of eight, raśanā — of sixteen, and kalāpa — of twenty-five threads.
37-38/ In the case of goddesses and queens, there should be a combination of thirty-two, sixty-four, or one hundred and eight threads.
Foot ornaments
38-39/ Nupura, kiṅkiṇī, a string of bells (ghāntikājāla), and the jingling kaṭakā are ornaments for the ankles.
39-40/ Padapatra is the ornament of the calves (jaṅghā), and toe rings are the ornament of the toes, and tilakas on the big toe are the ornaments of the feet.
40-41/ Similarly, [as an additional ornament for the feet] lac dye applied to them in various patterns will serve to give them the natural color of aśoka flowers.
41-42/ Such are the adornments of women from hair to nails [of the feet]. Taking into account psychological states (bhāva) and moods (rasa), they should be applied [to various parts of the body].
42-43/ These [ornaments] should also be applied taking into account the folk tradition (āgama), the dimensions and colour of the body, as well as the techniques specified in the work of Viśvakarman.
43-44/ [In a dramatic performance] it is not permitted to adorn parts of the body freely and at one’s own will with gold, pearls, and precious stones.
44-45/ Applied with a sense of proportion and placed in the proper places, jewelry will lend beauty to the parts of the body.
45-46/ However, when staging plays, one should not use an excessive number of ornaments, for they will cause fatigue [in actors and actresses] during prolonged movements.
46-47/ Moreover, a person laden with heavy ornaments cannot move much, and thus burdened, he risks exhaustion and losing consciousness.
47-48/ Therefore [in a dramatic performance] one should not use ornaments of pure gold, but those made of lac and slightly inlaid with gems will not cause exhaustion [to those wearing them in the play]. The rules of ornamentation are not obligatory in the case of celestial beings (gods and goddesses); but the ornamentation of human women should be carried out carefully.
49/ Heavenly women should be distinguished for their roles by means of ornaments and costumes appropriate to various circumstances.
50/ Women of the vidyādharas, yakṣas, nāgas and apsarases, as well as daughters of sages and gods, should be distinguished by their costumes.
51/ The same rule applies to the women of siddhas, gandharvas, rākṣasas, asuras, divine monkeys, and to human women.
52/ Women of the vidyādharas should have hair (śikhā) gathered into a knot at the crown, adorned with a string of numerous pearls, and garments [entirely] white.
53/ The yakṣa women and apsarasas should have ornaments of precious stones, and their attire will be the same, except that only the yakṣa women should wear a śikhā.
54/ Women of the nāgas must wear, like goddesses, ornaments abounding in pearls and gems, but they must also have a hood [in addition to them].
55/ Daughters of sages should wear a single braid of hair on their heads and should not be excessively adorned.
Women of the Siddhas
56/ The women of the siddhas should have ornaments abundant with pearls and emeralds, and their garments should be of yellow color.
Women of the Gandharvas
57/ The ornaments of Gandharva women should abound in rubies. And they should carry a vīṇā in their hands, and their garments should be of saffron color.
Women of the rākṣasas
58/ Women of the rakṣasas should have sapphires as ornaments, and their teeth should be white, while their garments should be black.
Goddesses
59/ Heavenly women should have lapis lazuli and pearls as ornaments, and their garments should be green, like [the color of] a parrot’s tail.
Monkey women
60/ Women of the divine monkeys should have topaz and [sometimes] lapis lazuli as ornaments, and their garments should be of blue color.
61/ Such should be the attire of celestial women in their love scenes. But under special circumstances, their garments should be white.
Human women according to their countries
62/ But human women must have attire and ornaments according to their places of origin. Hear about them as is proper.
Women of Avanti and Gauḍa
63/ Young women of Avanti should have curly hair, and women of Gauḍa usually should have wavy hair, and they should wear śikhāpāśa and veṇī.
Abhīra women
64/ Women of the Abhīra tribe should have two braids (venī), and their heads are usually adorned with a wrapping band, while their garments should be predominantly blue.
Women of the Northeast
65/ Women of the Northeast must gather their śikhaṇḍas, and when dressing, they wrap their bodies up to the hair.
Women of the South
66/ Women of the South should have ullekha with kumbhipadaka and āvarta on the forehead.
67/ Thus, hairstyles and the like, attire, ornaments, and the use of the razor pertaining [to the head], the cutting of hair, and so forth should be determined for the remaining characters according to their place of residence and birth.
Ornaments must be in their place
68/ Ornaments and similar things placed in the wrong place will not create beauty; for wearing a mekhalā (belt) on the chest will cause laughter.
Attire corresponding to the state of women
69/ Likewise, women whose beloved has gone to a foreign land and who suffer from grief should not have clean clothes and should wear their hair as a single braid from the head.
70/ The clothes of women separated from their beloved should be white, and they should not wear many ornaments and should not perform their toilet.
71/ Such are the garments of women according to their place of residence and stage of life. Now I shall speak of the proper garments for men.
Body painting
72/ But in their (i.e., male) case, the play directors must first paint the body, and then provide costumes according to their place of residence.
Four primary colors
73/ The four primary (that is, natural) colors are black, blue, yellow, and red; the body should be painted with them.
74/ These are the primary colors, and besides them there exist derived and secondary colors. I will speak of the methods by which stage directors should produce them.
Derived colors
75/ The bluish-white (karandava) color is created from white and blue, and the yellowish-white (paṇḍu) — from white and yellow.
76/ The lotus (padma) color is created from white and red, and green (harit) — from yellow and blue.
77/ The dark-red (kaśāya) color is created from blue and red, and the pale-red (gaura) — from red and yellow.
78/ These are the derived colors. Besides them, there exist [many] secondary colors that can be created from three or four [primary] colors.
Secondary colors
79/ Of these, the strong color should constitute one part, and the weak color — two parts; but the blue color should be taken as indicated below.
80/ Blue should constitute only one part, while the other colors will make up three parts, for blue is known as the strongest of colors.
81/ Knowing thus the rules of colors, which are to be prepared by various mixtures, one should paint the bodies of the various characters.
82/ A painted body when changing one’s own costume should be regarded as a convention (nāṭyadharma), pertaining to the characters.
83/ Having covered his body and its color with paints and cosmetics, the actor must assume the nature of the person whose character he represents.
84-85/ Just as the soul [of a person], leaving the nature inherent to one body, assumes another character connected with the body of a different being, so too does a person, having [a different] complexion and makeup, adopt the behavior associated with the clothing they wear.
Living beings
86/ The gods, dānavas, gandharvas, yakṣas, rākṣasas and pannagas (nāgas) are called living beings, [for] they here constitute the body of the soul.
Inanimate objects
87/ Hills, palaces, mechanical devices (yantra), shields, armour, flagstaffs, and various weapons are known as inanimate objects.
Inanimate objects in human form
88/ But when necessary (that is, due to a cause), they may assume human form with [appropriate] dress and speech according to dramatic convention.
Body painting
89/ Having studied the rule for making flowers, one should color the bodies [of the characters] according to their place of residence, birth, and age.
Colors for the Gods
90/ Gods, as well as yakṣas and apsarases, should be painted reddish-yellow, while Rudra, Arka (the Sun), Druhiṇa (Brahmā), and Skanda should have a golden color.
91/ Soma (the Moon), Bṛhaspati, Śakra (Indra), Varuṇa and the stars, the ocean, the Himalayas and Gaṅgā (the Ganges) should be white in color.
92/ Aṅgāraka (Maṅgala = Mars) should be painted red, while Budha and Hutāśana (Agni) — yellow, and Nārāyaṇa and Nara, as well as Vāsuki — dark blue (śyāma).
Colors for the demigods
93/ Daityas, dānavas, rākṣasas, guhyakas, mountains, piśācas, Yama and the sky — are of a dark blue color.
94/ Yakṣas, gandharvas, bhūtas, pannagas (nāgas), vidyādharas, pitṛs, and monkeys — of various colors.
Colors for People in Various Countries
95/ People inhabiting the six continents (ṣaḍdvīpa) should be painted the color of polished gold.
96/ But among the inhabitants of Jambudvīpa, where people of various colors live, everyone except the inhabitants of the Northern Kurus should be given a golden color.
97/ In Bhadrāśva people should have a white complexion, and in Ketumāla — blue. But on the other subcontinents people should be made reddish-yellow (gaura).
Colors for bhūtas and dwarfs
98/ Bhūtas, as is known, come in various colors. They are dwarfs with strange faces, and they may have faces of boars, rams, buffaloes, and deer.
Colors of the People of Bhāratavarṣa
99/ Moreover, now hear about the various colors of the people of Bhāratavarṣa. The kings there should be of lotus color, or dark blue, or reddish-yellow [in complexion].
100-102/ And happy mortals there should be of a reddish-yellow (gaura) colour. Those who commit base deeds, are possessed by evil spirits, are ill, engaged in penance and hard labour, as well as those of low birth, should be dark (asita, that is, impure). And sages should always have the colour of the plum (vadara). But dark should be the colour of sages observing asceticism (tapas).
102-103/ And according to any necessity, as well as at the [author’s] wish, the color of faces may vary according to their place of residence, birth, and age.
103-104/ The connoisseur of [dramatic] production should color the faces, knowing their place of action, time of action, birth, and the region of the land in which they dwell.
Colors of various tribes
104-105/ Kirātas, Barbaras, Andhras, Dramilas, Kāśis, Kosalas, Pulindas, and the inhabitants of the South are for the most part known as dark-skinned (asita, i.e., impure).
105-106/ Śakas, Yavanas, Pahlavas (Pahravas) and Vāhlīkas (Bāhlīkas), dwelling in the North, should be almost reddish-yellow.
106-107/ Pañcālas, Śūrasenas, Odras, Magadhas, Aṅgas, Vaṅgas and Kaliṅgas should be of a dark or deep blue (śyāma) complexion.
Colors of the various castes
107-108/ Brahmins and kṣatriyas should always be reddish-yellow in complexion, while vaiśyas and śūdras should be dark or deep blue (śyāma) in skin color.
Rules for beards
108-109/ After coloring the face and other parts of the body according to the rules, one should provide beards for the faces, taking into account their place of residence, profession, and religious rites.
109-110/ The beard, in accordance with the changing conditions of the faces, should be of four kinds: white (śuddha), black (śyāma), elegant (vichitra), and bushy (romaśa, that is, hairy).
110-111/ The beard of religious ascetics (liṅgin), ministers, chaplains, and persons indifferent to sensual pleasures or devoted to some ritual should be white.
111-113/ The beard of celestial beings such as siddhas and vidyādharas, kings, princes, royal officials, and persons who are dandies and proud of their youth, should be dandified (vichitra) as directed by the stage directors.
113-114/ The beards of faces that mourn an unfulfilled promise and are ascetics or stricken by some calamity should be black.
114-115/ The beard of Vedic seers, ascetics, and those observing an ancient vow, as well as those filled with a thirst for revenge, should be bushy (romaśa).
Rules for various costumes
115-116/ Thus, the beard should be of various kinds. Now I will speak of costumes appropriate to various occasions.
116-117/ Garments brought from many marketplaces are of various kinds. They are [chiefly] of three kinds: white, red, and variegated.
117-118/ Costumes are of three kinds: white, variegated, and stained (malina). Now I shall explain their distinction according to the usage by stage directors.
118-120/ When visiting a temple of the gods, observing an auspicious rite or vow, or upon the conjunction of certain tithis and stars, or during a wedding or other sacred ceremonies, men and women should wear white garments, and the same rule applies to a disciplined person in general.
120-121/ Costumes of gods, dānavas, yakṣas, gandharvas, uragas (nāgas), rākṣasas, kings, and people of dandy disposition should be variegated.
121-123/ The costumes of old Brahmins, heads of merchant guilds, ministers, chaplains, traders, ascetics, those who hold a position similar to Brahmins, Kṣatriyas, and Vaiśyas should be white in a dramatic production.
123-124/ Costumes of madmen, drunkards, travelers, and persons afflicted by calamity should be soiled.
124-125/ In the case of costumes of the white and variegated class, experts in dramatic theory should provide upper garments of white, red, and variegated color, and in the case of a dirty person, he should be given a soiled cloth.
126/ The costumes of sages, Jain (nirgrantha) and Buddhist (śākya) monks, yati and pāśupatas should be made according to their respective sectarian rules and with an eye to what might impress people.
127/ Ascetics [in general] should be dressed in torn cloth, bark, and skin. And the costumes of wandering ascetics, sages, and Buddhist monks should be made of dark-red (kaṣāya) cloth.
128/ Pāśupatam should be given variegated garments, and the costumes of persons of low origin should be such as befits their craft.
129-130/ Persons engaged in guarding the harem should be given armor and clothing of a dark-red (kaṣāya) color. The attire of women should be the same when they are in special states.
130-131/ The costumes of warriors (that is, heroes) should be suitable for battle, and they should be furnished with various weapons, armor with attached quivers and bows.
131-132/ Kings should always wear multi-colored garments; but when, due to misfortune caused by an evil star, they are engaged in a propitiatory rite, their costumes should be exclusively white.
132-133/ Thus should one make the garments of persons (that is, the types of men and women) of the higher, middle, and lower classes, according to their age, birth, and other circumstances (that is, qualities).
133-134/ Such are the rules of costumes in a dramatic production, according to how characters attain various states and perform good or evil deeds.
Use of masks
134-135/ Similarly, various masks (pratiśīra) should be applied for gods and humans, according to their place of abode, birth, and age.
Three kinds of crowns
135-137/ [On masks] crowns for gods and kings are of three kinds: parśvagata (= parśvamauli), mastaki, and kirīti. For gods [in general], gandharvas, yakṣas, pannagas (nāgas), and rākṣasas, crowns of the parśvamauli (parśvagata) type are usually prescribed.
137-138/ And the kirīṭa crown is prescribed for the highest gods, while the middle gods should have a crown of the mauli type (= mastaka?), whereas ordinary (that is, lower) gods should have crowns of the parśvamauli type.
138-139/ Kings should be given crowns of the mastaka type. Whereas vidyādharas, siddhis and cāraṇas should be furnished with crowns made from their tied hair (keśa-mukuṭa).
140-141/ The hair and eyes of rākṣasas, dānavas and daityas should be of a reddish colour, and they should have reddish moustaches; and their crowns and faces should be treated in a similar manner. And those among them who belong to the highest type should have crowns of the pārśvamauli type.
141-143/ Why are crowns attached to the heads of gods and mortal kings in a dramatic performance? [Answer:] In the Vedic cult there is a rule of hair-cutting. Wearing a crown was permitted to a person who had shaved his hair in connection with a sacrifice and wished to cover his head, since the hair had not yet grown back.
143-144/ Ministers, kañcukins (armor-bearers), heads of merchant guilds, and priests should have masks with a piece of cloth wrapped around the head like a turban.
144-145/ And the masks of the military commanders (senāpati) and the crown prince should be furnished with a small crown (ardha-mukuṭa, that is, a half-crown), and the same should be the case for a mahāmātra (a high royal official).
145/ Masks of piśācas, madmen, bhūtas, spiritual seekers, ascetics, and those who have not yet fulfilled their vow should have long hair.
Rules for various hairstyles
146-147/ The heads [on the masks] of Buddhist (śākya) monks, knowers of Vedic sciences (śrotriya), Jain (nirgrantha) monks, wandering ascetics, and those who have devoted themselves to any rites or Vedic sacrifice should be cleanly shaven. And according to their [respective] sectarian teachings, other ascetics should have shaven heads, or curly hair, or freely hanging hair.
148-149/ Dhūrtas (rogues) and those who ply their trade by night (that is, thieves, robbers, and others), and men of a dandyish nature, should have curly hair.
149-150/ The boys’ heads should be adorned with three śikhāṇḍas, and the munis’ heads should have a crown of matted hair (jaṭā-mukuṭa).
150-151/ Servants should have three śikhās on their heads or a cleanly shaven head. The jester (vidūṣaka) should have a bald head or a head with kākapāda (that is, crow’s feet).
151-152/ As for the others, the head [on the mask] in a dramatic production should be fashioned according to their place of abode, birth, and age.
152-153/ Thus, having wisely distinguished the various modes of existence through ornaments, diverse costumes, and garlands, one should create an imitation of the particular states from which moods (rasa) arise in the staging [of a play].
154/ Men and women, having been brought into such a state, should present all psychological states (bhāva) of the gods in a human manner.
Sanjīva
155-156/ Directors should not prescribe unblinking eyes in the case of gods. For all psychological states and moods in this world are based on glances, and the meaning [of words] contained in glances is then represented by gestures. Thus should one know about body makeup pertaining to various characters.
157/ Now I will speak of the properties of what is known as sañjīva (= living being). The appearance of animals [on stage] is called sañjīva.
158-159/ Animals can be four-footed, two-footed, and footless (apada). Among them, snakes are footless, birds and humans are two-footed, and various animals in the forest or in human settlements are known as four-footed.
Use of Weapons
159-160/ Those engaged in battle, furious combat, or siege in a play should be provided with various weapons in the drama.
160-161/ The weapon must be made by experts with proper dimensions. Now I shall describe them along with the rules for their measurement.
161-162/ Bhindi must be twelve tālas in length, kunta (javelin) — ten, and śataghnī, śūla (pike), tomara, and śakti (spear) — eight.
162-163/ The bow should be eight tālas in length, and its width — two cubits. Arrows, the mace, and the vajra should be four tālas in length.
163-164/ The sword should be forty aṅguli in length, and the disc (cakra) — twelve, and the prāsa — half of the latter.
164-165/ Pattīśa has the same length as prāsa, and the staff (daṇḍa) should be twenty aṅguli, and kampaṇa (kanapa) will be of the same size.
165-166/ The shield (charma) should be sixteen aṅguli in width and two cubits in length, and to it should be attached valī (hair?) and bells. Khetaka (the rider’s shield) should be thirty aṅguli in width [and two cubits in length].
Use of other objects
167-168/ Jarjara, dandakaṣṭha, masks, umbrellas, chamaras, banner poles and water pitchers (bhṛṅgāra), as well as any other thing that people use, are accessories for [the staging of] a play.
168-169/ The properties of all these objects must be determined by those to whose sphere they belong. Now I will speak of the properties of jarjara and danda-kaṣṭha.
Indra’s banner pole
170/ Trees that grew on white soil and were cut down under the constellation Puṣya were recognized by the great Viśvakarmā as suitable for the flagstaff of Indra.
Jarjara
171-172/ Some of these trees must be [worked into] a jarjara by a carpenter. A branch of a tree may also [become] a jarjara. But bamboo will be most suitable [for this work]. I will speak of its properties.
172-173/ Bamboo that has grown on white soil and [cut] under the constellation Puṣya should be carefully collected in accordance with the proper rules. Its joints should not be overly developed, it should have no branches, and it should not be worm-eaten.
174-175/ As for its size, it should be one hundred and eight aṅguli (four and a half cubits) in length and have five sections and four joints, only one tāla in circumference. But its joints should not be too prominent (that is, thick), and it should be neither worm-eaten nor scratched by friction against other bamboos.
175-176/ Having smeared it with honey and ghee and regularly honouring it with garlands and incense, one should gather bamboo for making the jarjara.
176-177/ The rites and their sequence prescribed for [the consecration of] the great banner pole of Indra should also be observed for the sacred bamboo [when it is transformed into a jarjara].
177-178/ It may have long and short sections. But when the tip of each of these sections is perfectly round, it is called sacred bamboo.
178-179/ Such is the rule connected with the properties of jarjara. Next I will speak of the properties of dandakaṣṭha.
Dandakaṣṭha
179-180/ The daṇḍākāṣṭha must always be made of bilva wood, or kapittha, or bamboo. It should be curved and have three bends and possess [good] qualities.
180-181/ That which is not worm-eaten and not diseased and has small (that is, sparse) branches is called daṇḍakaṣṭhā.
181-182/ He who makes a jarjara and a daṇḍakaṣṭha devoid of the said qualities will surely incur great loss.
Making of masks
182-183/ In the same way, a pati for creating the head should be made with proper dimensions. The size may be one’s own or thirty-two aṅguli. The pati should be made using bilva paste on cloth.
184-185/ Masks should be made with ash or rice husks, mixed with bilva paste or its watery form, after covering them with cloth smeared with a thick bilva paste.
185-186/ The paṭī [prepared in this way] should be neither too thick nor too thin, and also should not be too soft.
186-187/ Having dried it (the patī) by fire or sun, one should make holes in it according to the rule, with a sharp instrument, and these holes should be made after dividing it into two [equal] halves.
188/ In a pati prepared in this manner, an opening should be made six aṅguli in length and one aṅguli in width, according to one’s own measure, in the shape of a forehead, and it should have [two] corners [at both ends].
189/ Then two openings, two aṅguli in length and one and a half aṅguli in width, should be made for the cheeks, and after that, for the cheeks [other openings] three aṅguli larger [in length] should be made for the ears.
190/ The ear hole, being three aṅguli in length, should be matched by the same length for the mouth opening, and then the symmetrical neck (avatu) should equal twelve aṅguli.
191-192/ These are all the rules for cutting openings in the pati for covering the head. On it should be placed various forms of crowns, adorned with many kinds of gems and various skillful patterns.
Other accessories
192-193/ And when staging a play (that is, here), one should variously employ, with respect to the characters, many kinds of accessories (upakaraṇa) required by the art of theatre.
193-194/ All crafts or occupations practiced in this world of moving and unmoving objects should be known as accessories [in the performance].
194-195/ [And to obtain them] one must go to the country that has them. For [to obtain] such accessories in a dramatic production, people have no other means.
195-196/ The one who produces [an ordinary] object of art prescribes its size and description.
196-197/ Large objects, for the making of which much iron is required, are not intended for our theatrical productions. Why? Because they cause fatigue [in the actors].
197-198/ Imitation of any object existing in the world of living beings, with various properties, may be included among the accessories [used] in the presentation of drama.
198-199/ But palaces, houses, and chariots, as well as various weapons, cannot be produced realistically (that is, properly) for the stage.
Realistic and conventional objects
199-200/ Some accessories, [however,] will be realistic, while others — conventional. Everything that follows its natural form is called realistic, whereas any deviation from it will be known as conventional.
200-201/ Stage properties must not be made of stone (nāgasāra) or of iron, for owing to their heaviness they would cause fatigue [in the actors].
201-202/ Objects that are easy to handle should be made of lacquer, wood, leather, cloth, bhaṇḍa, and split bamboo for their use as accessories in a dramatic production.
202-204/ The frameworks of armor, shields, banner poles, hills, palaces, mountain peaks, horses, elephants, aerial chariots, and houses should first be made from pieces of split bamboo, and then they should be given the likeness of such objects, connected with psychological states (bhāva), by covering them with cloths of suitable color.
204-205/ But if it is not possible to suitably use cloth for this purpose, then instead of it, articles made from palm and mats (kilindzha) may be used.
205-206/ Similarly, weapons of various forms should be made from grass and pieces of split bamboo, as well as from lac and bhaṇḍa.
206-207/ Imitations of legs, heads, arms, and skin should be made in their likeness from grass, matting, and bhaṇḍa.
207-208/ All objects should be made of clay in various forms, in imitation of their proper shapes.
208-209/ Various hills and shields, armor and flagstaffs should be made from bhaṇḍa, cloth, beeswax, lac, and sheets of mica.
209-210/ And fruits and flowers growing in various regions, and various ornaments (bhanda) should be made of lac. Similarly, they may be made of bhanda, cloth, beeswax, and very thin copper sheets.
Making of jewellery
211-212/ The gems should be made of thin sheets of mica, tinted with indigo or other plants or seeds, and they should be set in very thin sheets of copper or tin.
212-213/ The various types of crowns I mentioned earlier should be made to shine with loosely attached pieces of mica, so that they gleam like gems.
213-214/ In the case of [all] these objects, instructions [for their making] were not mentioned in the śāstras. One should act according to the ācārya’s directions and be guided by appropriate reasoning.
214-215/ Such is the rule of action regarding future mortals, [which is to be adopted in a dramatic production]. Why? Because a deficiency of strength will be observed in people [of the future generation].
215-216/ Mortals of weak strength should not undertake excessive physical exertion, and therefore it is undesirable for their crowns or ornaments to be made of gold and precious stones.
216-217/ For in battle, single combat, dance, and in the presentation of challenges, faces burdened with a heavy load will experience fatigue and may even lose consciousness.
217-218/ When an actor is overcome by pain or fatigue or loses consciousness, his performance deteriorates. One may even endanger one’s life by making movements with difficulty under such conditions.
218-219/ Therefore, the ornaments should be made of thin copper sheets, painted sheets of mica, bhandā and beeswax, covered with thin sheets of mica or mica painted in red, blue and green colours.
219-220/ Thus, following popular custom or acting at one’s own discretion, one should properly make theatrical accessories.
The Use of Weapons on Stage
221/ No projectile may be released on stage, and no weapon may pierce or strike anyone. It should only touch the spot, and the weapon should be used solely to indicate [an attack] by gesture.
222/ It is proper to discharge missiles on stage only after training in this, or such training should make him capable of creating an illusion in this regard.
223/ Any instruction [pertaining to this] that I may have omitted on the present topic should be gleaned from popular custom (that is, from the people). This is all about the external representation (āhāryābhinaya) that I had to tell you. Next, I will speak of the harmonious representation on stage (sāmānyābhinaya).
Here ends chapter XXIII of the Nāṭyaśāstra of Bharata, which treats of the external representation.