F eet & Footwear in I ndian C ulture
Jutta Jain-Neubauer
F eet & Footwear in Indian Culture
Innumerable references to the foot and to foot worship in Indian culture convey the impression that the foot is regarded as an important if not the most important part of the human body. The foot is usually the part of the body that is venerated; the feet of elders are worshipped by the younger generation; the feet of religious teachers and holy men by their followers; the feet of idols by their devotees; the feet of innocent persons by wrongdoers seeking forgiveness. There is also the romantic attachment towards the beloved’s foot. It was in this context that Indian miniature painting, drama and poetry referred to men treasuring the touch of the foot of their beloved. Until half a century ago, India was described as a barefoot country, since the ascetic Hindu, Buddhist and Jain sects were not generally permitted the worldly luxury of footwear.
The religious and historical significance of feet and footwear in Indian art and culture are presented in this book, which was inspired by The Bata Shoe Museum Foundation. The richness and variety of ancient and traditional footwear are lavishly illustrated, with outstanding examples of the typical toe-knob sandals worn by mendicants and holy men and the beautifully embroidered shoes of the wealthy. Rare information on footwear has been culled from lesser-known Buddhist and Jain sources concerning the traditions and regulations governing the monastic life of monks.
As part of the research, the Foundation organized field trips to various parts of India to document the making of some of the most traditional footwear types created by village craftsmen. Patterns and decorative treatments were studied and photographed. Examples include the making of leather Chappals in Kohlapur; embroidered Juttis in Jodhpur, Indo-Tibetian felt boots in Sikkim and vegetable fibre shoes in Ladakh.
With 131 colour and 26 b&w illustrations
F e e t & F o o t w e a r i n
I n d i a n C u l t u r e
Fe e t & Fo o t w e a r i n
I n d i a n Cu l t u r e
J u t t a Ja i n - N e u b a u e r
T h e B a t a S h o e M u s e u m , To r o n t o
i n a s s o c i a t i o n w i t h M a p i n P u b l i s h i n g P v t . L t d . , A h m e d a b a d
First publishe d in 2000 by The Bata Sho e Museum Foundation
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1 Fo ot –
S o cia l Asp e cts – India 2 Fo ot wear – India 3 India – Antiquities
The Bata Sho e Museum Foundation
lc : g t 2130 445 tz3
Text © Bata Sho e Museum Foundation
Photo g raphs © Bata Sho e Museum except other wise note d
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may b e repro duce d or utilise d in any form or by any means, ele ctronic or me chanica l , including photo copying , re cording or by any information stora g e and retrie va l s ystem without p ermission in writing from the publishers
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Front & back jacket photo g raphs by John Big elow Taylor
f i g u r e 2
P a i r o f c e r e m o n i a l s i l v e r padukas w i t h o r n a m e n t a l
g o l d - c o v e r e d t o e - k n o b s
S i l v e r - c o v e r e d w o o d e n p l a t f o r m s u p p o r t s a t t o e s
a n d h e e l s . T h e s i l v e r f o o t r e s t s a r e i n t r i c a t e l y c h a s e d
w i t h a b s t r a c t v i n e a n d l e a f m o t i f s
J a i p u r , 18 t h c e n t u r y
B S M P 8 3 1 2
The Ind ian sub c ontinent with its va st size and d iversit y ha s f a scinate d me a l l my l ife. My p arents first travel le d to Ind ia from Switzerland in 1936, when I wa s a young ch ild As wa s the custom at that time, the y went by sh ip to B omb ay and visite d various p ar ts of Ind ia by char tere d ra ilway carria g e The p hoto g rap hs and stories the y broug ht b ack made a de ep impression on me and I dreame d of visiting the wonderf u l , c o lourf u l p lac es the y dep icte d and of learn ing ab out the ancient, rich and mysterious cu ltures of Ind ia
L ittle d id I rea l ise that later in l ife I wou ld have many opp or tun ities to visit the re g ion, not a s a student or tourist, but on business In 1946, I marrie d Thoma s Bata , whose f am ily had exp ande d their internationa l fo ot wear enterprise to the Ind ian sub c ontinent a lready b efore the S e c ond World War Sinc e I have a lways ta ken an active interest in the business, I have b e en a fre quent visitor.
D uring our early travels, most p e op le, p ar ticu larly in the S outh, went b arefo ot O ur cha l leng e wa s to ma ke and sel l qua l it y fo ot wear at an affordab le pric e In an effor t to g a in an insig ht into the d ifferent customs and trad itions of the d iverse markets, we visite d many p ar ts of Ind ia , includ ing not on ly larg e cities, but a lso a g reat numb er of sma l l c ommun ities
We d isc overe d that to f u l ly understand the business environment, we a lso had to study the cu ltura l h istor y. With in the sub c ontinent, the b oundaries b et we en many cu ltures, whether influenc e d by lang ua g e, rel ig ion, p o l itics or e c onom ics, are f ar from
P r e f a c e
clear- cut O ver thousands of years, d iversit y ha s flourishe d and p e op le have ref use d to c onform and restra in their creativit y. Th is ha s sometimes resu lte d in c onfl ict and oppression, but for the most p ar t d ifferent p e op le have l ive d a long side each other in harmony over long p erio ds The y have m ing le d and sep arate d , weaving a rich tap estr y Pe op le on the Ind ian sub c ontinent have a lways forme d a pre dom inantly r ura l so ciet y. Streng th and resil ienc e se ems to b e founde d on c ountless vil la g e c ommun ities Trad itions are vita l and preser ve d or reinterprete d by each g eneration, so that so ciet y c ontinuously reshap es and re d isc overs itself.
It wa s during one of my early trips to Ind ia , shor tly af ter Indep endenc e, that I c o l le cte d a p a ir of to e kno b sanda ls, padukas, b e cause the un ique shap e intrig ue d me Later in l ife, I c o l le cte d more and more ind ig enous sho es from various p ar ts of the world . My c o l le ction fina l ly le d to the estab l ishment of the Bata Sho e Museum in Toronto wh ich, ac c ord ing to the latest Gu inness B o o k of R e c ords, ha s the larg est sho e c o l le ction in the world
I p ar ticu larly fo cuse d on the sp e cia l mean ing of fe et in various cu ltures . Fe et are sometimes c onsidere d to b e the most humb le, and at the same time, the most re vere d p ar t of the human b o dy More over, to do cument trad itiona l t yp es of fo ot wear prove d to b e a cha l leng ing ta sk , b e cause of the g reat variet y of d ifferent trad itions and so cia l practic es from re g ion to re g ion, town to town, and vil la g e to vil la g e.
It is with sp e cia l pride that our Museum is sp onsoring the pub l ication of
th is b o o k S e vera l p e op le were instr umenta l in a ssisting us with research In 1998 we estab l ishe d an Advisor y Council under the cha irmansh ip of Mar tand Sing h, Cha irman of I N TAC H (Ind ian Nationa l Tr ust for Ar t and Cu ltura l Herita g e) O ther memb ers of the Advisor y Council were Dr B N G oswamy, the renowne d h istorian, Dr Jyotindra Ja in, sen ior Dire ctor of the Craf ts Museum, Dr Jutta Ja in-Neub auer, an ar t h istorian, Mr Kumar Sing h, and Mr Ja swant Sing h, an exe cutive of Bata Ind ia L im ite d Dr Jutta Ja in-Neub auer under to o k to write the manuscript Mr Ja swant Sing h, with the help of Bata Ind ia L im ite d , c oord inate d the fieldwork in Ind ia . At the Bata Sho e Museum in Toronto, we researche d a l l the ar tif acts and a ssiste d with the writing of the th ird chapter on Trad itiona l Ind ian Fo ot wear in the Mo dern Perio d Ba se d on our research, we org an ize d an exh ib ition of outstand ing items at the Bata Sho e Museum . I am p ar ticu larly g ratef u l to Jo hn Vo l lmer of Vo l lmer Cu ltura l Par tnersh ips Inc , who acte d a s our proj e ct c o - ord inator, and a lso Ju l ia Pine, our acting curator, for their tremendous a ssistanc e and tireless work , wh ich were essentia l to the suc c ess of th is endeavour.
Throug h the study of the ro le of fe et and fo ot wear in the p a st and present, we hop e to c ontribute in our sp e cific field to the knowle d g e of the trad itions and customs of th is rich and c omp lex sub c ontinent, wh ich ha s b e en the home of a fif th of a l l human it y.
S o n j a B a t a Chair, B ata Shoe Museum Found ation
f i g u r e 3
B r a h m a , S h i v a a n d V i s h n u
c o m e t o w o r s h i p t h e G r e a t G o d d e s s i n h e r a s p e c t a s I n d r a k s h i b y
s h o w e r i n g f l o w e r p e t a l s o v e r h e r f e e t
M i n i a t u r e , B a s o h l i ,
circa 16 6 0 - 7 0
C o l l e c t i o n : D r a n d M r s W i l l i a m E h r e n f e l d ,
S a n F r a n c i s c o B a y A r e a
I n t r o d u c t i o n “ Ha il to that foo t o f the l u st y b el o v ed wh i ch h its the hea d o f the l o v e r, that foo t wh i ch
i s a d or ned w ith red p a ste a n d ji ng l i ng
a nkl ets i s the ba nne r o f l o v e a n d wh i ch i s w or thy
o f a d orati on b y i ncl i ni ng one ’ s hea d . ”
F r o m t h e 5 t h c e n t u r y d r a m a , Padataditakam ( H i t b y t h e F o o t )
T h e r e a r e i nnum e r a b l e r e f e r e n c e s t o f e e t a n d f e e t w o r s h i p i n
Ind ian l iterature The rel ig ious and cu ltura l sig n ificanc e of fe et in the Ind ian trad ition is un ique. The fe et are c onsidere d to b e
sacre d and therefore o bj e cts of veneration : the fe et of elders are
w o r s h i p p e d b y t h e y o u n g e r g e n e r a t i o n , t h e f e e t o f r e l i g i o u s
te a c h er s an d h o l y m en an d wom en by th e ir f o l l ower s , th e f e e t
o f i d o l s b y th e i r d e vo t e e s , a n d th e f e e t o f th o s e f ro m w h o m a
wrong do er se ek s forg iveness .
Al m o st p ara d ox i ca l l y, th e s entim ent o f hum i l i t y an d su b -
m i s s i v en e s s e v o ki n g th e em o ti o n s o f aw e , r e sp e c t , a n d a d o r a -
t i o n a r e r o o t e d i n t h e i d e a t h a t f e e t a r e t h e h u m b l e s t , m o s t impure, and p o l luting p ar t of the b o dy, and therefore may c omma n d re sp e c t by th o s e wh o surren d er th e ir e g o to th e ven er a -
b l e . T h e b r a h m i n i c b e l i e f t h a t t h e s t e p s a n d s h a d o w o f a n outca ste shou ld b e avo ide d a s the y bring b ad luck , is a lso ro ote d in the same notion of humb leness of fe et Conne cte d to o with th is sense of surrender and hum il it y, is the romantic sentiment a sso ciate d with the b elove d’s fe et a s g lorifie d in l iterature. The lover adm ires them by caressing them a s a demonstration of h is u l timat e d e vo ti o n t o h er a n d vi c e ver s a It wa s in th i s c o nt e xt that In d i an p a inting , d rama , an d p o e tr y re f erre d to m en tre asuring th e to u c h o f th e f o o t o f th e ir b e l o ve d , a n d wo m en l avish ing g reat c osmetic attention to their fe et and adorn ing them with a s much care a s the y wou ld ta ke to b eautif y their f ac e The ten d er f o o t th en b e c om e s th e s ym b o l o f a f f e c ti on an d s ensua l desire, and p lays an effe ctive ro le in love -p lay. R ad ha sitting at th e g o d Kri s hna’s f e e t ; Kri s hna g entl y ma ss a g ing R a d ha’s f e e t ; o r t h e d e l i g h t f u l s t o r y o f t h e c a l l o w B r a hm i n w h o , w h e n h i s head wa s touche d by the fo ot of a c our tesan in love -p lay, se ek s to re c eive exoneration from th is “ p o l lution”, and ends up a s the b ut t o f r i d i c u l e , a r e e x a m p l e s o f t h e un i q u e s i g n i f i c a n c e t h a t fe et enj oy in the Ind ian amorous ima g ination . These a s wel l a s th e romanti c an d ero ti c s ym b o l i c c onn o tati ons o f p a inting or tatto o ing th e f e e t , us ing to e -ring s , an kl e ts , an d o th er f orms o f
f o o t a d ornm ent an d th e a ss o c i ate d l o ve p o e tr y ; th e s o un d s o f f o o tf a l l s ; th e s o f t thu d o f b a re f e e t ; s i l ent st ep s in th e d a rk o f
n i g h t ; t h e t a p p i n g s o u n d o f w o o d e n s a n d a l s ; t h e j i n g l i n g o f an kle b el ls ; the rhy thm of danc e ; the ma g ica l p ower of the fo ot o f th e g o d d e ss ; an d th e re l i g i o us s i g n i f i can c e o f f o o tprints are the themes elab orate d in th is b o o k . Ind ig enous words for ‘fo otprint’, ‘fe et ’ , with b oth their et ymo lo g ica l and se c ondar y meani n g s , a s w e l l a s a r a n g e o f r e f e r e n c e s t o f e e t a n d a n k l e
f i g u r e 4
H u m b l e n e s s i s d e m o n s t r a t e d a m o n g
t h e s o u t h I n d i a n To d a s i n t h i s w a y o f
g r e e t i n g a n e l d e r p e r s o n T h e w o m a n
k n e e l s o n t h e g r o u n d a n d l i f t s o n e
o f t h e e l d e r ’ s f e e t t o t o u c h h e r h e a d
Die Sitten der Voelker, D r G e o r g B u s h a n ,
v o l u m e I I
f i g u r e 5
K r i s h n a p a i n t s h i s c o n s o r t R a d h a ’ s f e e t w i t h a u s p i c i o u s r e d l a c , p o p u -
l a r l y c a l l e d mahawar, a d y e s e c r e t e d b y a b e e t l e R a d h a ’ s a t t e n d a n t i s s u r -
p r i s e d t o w i t n e s s t h i s d i v i n e l o v e . M i n i a t u r e , K a n g r a , circa 19 t h c e n t u r y
C o l l e c t i o n : N a t i o n a l M u s e u m , N e w D e l h i , 4 9 19 / 2 9 0
f i g u r e 7
S i l v e r f o o t o r n a m e n t c o v e r i n g t h e
e n t i r e f o o t f r o m a n k l e t o t o e s , w o r n
b y a b r i d e a t t h e C o o r g i v i r g i n - b r i d e
m a r r i a g e c e r e m o n y , kanni mangala
M a d i k e r i ( M e r c a r a ) , K o d a g u ( C o o r g ) ,
K a r n a t a k a
f i g u r e 6
P a i r o f f i s h - s h a p e d w o o d e n padukas
w i t h i n l a i d b r a s s w i r e f e a t u r i n g
s t y l i s e d s c a l e s a n d t a i l f i n s A s c r e a -
t u r e s o f b o u n d l e s s l i b e r t y , f i s h a p p e a r a s s a v i o u r s i n I n d i a n m y t h , a n d a s avatars, i n c a r n a t i o n s , o f t h e d e i t i e s V i s h n u a n d V a r u n a
S o u t h B e n g a l
B S M P 8 4 15 4
o rna m ents , have b e en tr a c e d ri g ht f ro m th e p eri o d o f th e R i g
Ve d a ( c . 4 0 0 0 B . C . ) t hr o u g h t h e c l a s s i c a l S a n s k r i t l i t e r a t ur e ,
m e d i a e va l p o e tr y, a n d c o nt emp o r a r y l i v i n g p r a c ti c e s , a n d a re
d iscusse d in the c ontext of their de ep er cu ltura l mean ing s and
usa g es in Par t I
Pa r t I I p ro vi d e s a h i s t o ri c a l o utl i n e o f f o o t w e a r i n In d i a .
R a r e i n f o r m a t i o n h a s b e e n c u l l e d f r o m l e s s e r - k n o w n B u d -
d h i s t a n d Ja i n a s o u r c e s r e l a t i n g t o t h e r u l e s a n d r e g u l a t i o n s
g o vern i n g th e l i f e o f m o n k s Th e s e c a n o ns f o r b a d e th e us e o f
c e r t a i n i m p u r e m a t e r i a l s o r c e r t a i n p r o v o c a t i v e t y p e s o f
f o o t w e a r, i m p l y i n g t h e r e b y t h a t t h e s e w e r e f a s h i o n a b l e i n
t h e n c o n t e m p o r a r y s o c i e t y. O t h e r i m p o r t a n t s o u r c e s t h a t
have b e en c o nsu l te d a re th e a c c o unts o f Ch in e s e , Ara b i c , a n d
Eur o p e a n tr a v e l l e r s w h o o f t e n d e s c r i b e d v i v i d l y a n d i n g r e a t
d e ta i l th e ma nn er s a n d c usto ms o f th e In d i a n p e o p l e in g i ven
p eri o d s , in c lu d ing th e ir c l o th ing an d f o o t we ar. S c u lp ture an d
p a i n t i n g s t o o s e r v e a s c l e a r m i r r o r s r e f l e c t i n g t h e s o c i a l a n d
c u l t u r a l p r a c t i c e s o f t h e r e s p e c t i v e p e r i o d s a n d s h e d m u c h
l i g h t o n f e e t a n d f o o t w e a r L a s t l y, t h e c o l l e c t i o n s o f t r a d i -
t i o n a l In d i a n f o o t w e a r, f o r e m o s t a m o n g t h e s e f r o m t h e B a t a
S h o e Mu s e um , p ut t o g e th er o v er th e p a s t f e w d e c a d e s , a r e o f
g r e a t s i g n i f i c a n c e f o r r e c o n s t r u c t i o n o f w h a t t h e p i c t u r e o f
richness and variet y of ancient Ind ian fo ot wear that m ig ht have b e en and the customs relating to them
It d e a l s w i t h t h e p r e p a r a t i o n o f h i d e a n d l e a t h e r a s r a w
materi a l f or ma king s h o e s an d o th er a c c e ss ori e s an d e x am in e s
t h e c o m p l e x s t r u c t u r e o f c a s t e c o m p o s i t i o n i n In d i a w h e r e
l e a t h e r w o r ke r s , s u c h a s f l a y e r s , t a n n e r s , f u r r i e r s , a n d s h o e -
ma ker s , were c o ns i d ere d o ut c a st e s a n d unt o u c ha b l e s . Pa r t I I I
elab orates the c ontemp orar y customs of sho ema king in Ind ia .
It w a s a c o m m o n p r a c t i c e i n m o s t o f r u r a l In d i a , u n t i l
h a l f a c e n t u r y a g o , t o w a l k b a r e f o o t , a n d t h e r e f o r e i t w o u l d
n o t b e a n e x a g g er ati o n t o g en er a l l y d e s c r i b e In d i a a s a “ b a r e -
f o o t c o u n t r y ” . Ho w e v e r, s h o e s w e r e w o r n f o r p r o t e c t i o n o f
f e e t a g a i n s t s e v er e c l i ma ti c o r t o p o g r a p h i c c o n d i ti o n s i n c er -
ta in n or th ern m o unta in o us re g i ons o f th e c o untr y. In a l l l i ke -
l i h o o d , t h e In d i a n a r i s t o c r a c y m a y h a v e d e v e l o p e d a l r e a d y a
ta ste for fo ot wear in the early c enturies of the Christian era , a s
i s e vi d ent f rom th e s c u lp ture o f th e p eri o d . Th e p o ss i b i l i t y o f
o r i g i n o f s e v e r a l s t y l e s a n d g e n r e s o f f o o t w e a r h a v i n g b e e n
r o o t e d i n t h e f u s i o n o f i n d i g e n o u s t r a d i t i o n s a n d G r a e c o -
R o m a n a n d Ku s h a n a i n f l u e n c e s o f t h e t i m e c a n n o t b e o v e r -
l o o ke d . Ap p a r e n t l y, u n d e r Mu g h a l i n f l u e n c e , t h e u s e o f a
f i g u r e 8
S i l v e r p l a q u e e m b o s s e d w i t h Vishnupada ( f o o t p r i n t s o f V i s h n u )
a n d a w i s h f u l f i l m e n t t r e e L i k e l y c o m m i s s i o n e d f o r a p r i v a t e s h r i n e . R a j a s t h a n , 19 t h c e n t u r y . B S M P 9 9 5 0
v a r i e t y o f f o o t w e a r, e s p e c i a l l y a m o n g t h e u p p e r c l a s s e s ,
b e c a m e a n o r m . T h e a s c e t i c s o f t h e H i n d u , B u d d h i s t a n d
Ja ina
s e c ts were n o t g en era l l y p erm i tte d th e worl d l y lu xur y o f
f o o t w e a r, b u t t o p r e v e n t c o n t a c t w i t h a n y r i t u a l l y i m p u r e
s u b s t a n c e s t h e y w e r e a l l o w e d t o u s e f o o t w e a r m a d e f r o m
wo o d or other such “ purer ” materia ls . Fo ot wear of d ivine p er-
s o n a g e s w a s t h e v e h i c l e o f t h e d u s t o f t h e i r h o l y f e e t a n d a s
su c h wa s c ons i d ere d to b e wor thy o f ven erati on Th i s i d e a l e d
to th e p r a c ti c e o f wo r s h i p p ing h o l y m en a n d d i vin i ti e s n o t in
t h e f o r m o f t h e i r a n t h r o p o m o r p h i c i m a g e b u t b y t h e i r s y m -
b o l ic representation in the form of their fo ot wear.
No n e t h e l e s s , o v e r t h e c o u r s e o f c e n t u r i e s , a r i c h v a r i e t y
o f f o o t w e a r w a s c r e a t e d i n In d i a , a n d t h i s i n c l u d e d s a n d a l s ,
b a b o u c h e s , mu l e s , s l i p p er s , s h o e s , b o o ts , s o c k s a n d st o c king s
These were made from a numb er of raw materia ls such a s c ow,
b u f f a l o o r g o a t h i d e , s i l k , w o o l o r c o t t o n f i b r e a n d , v a r i o u s
g r a s s e s . T h e v e r y t y p i c a l In d i a n t o e - k n o b s a n d a l s , k n o w n a s
p a d u k a , w e r e m a d e o f s u c h m a t e r i a l s a s w o o d , i v o r y, b r a s s ,
s i l v e r, s e m i - p r e c i o u s s t o n e s u c h a s j a d e , o r a c o m b i n a t i o n o f
th e s e . S h o e s w ere em b e l l i s h e d w i th a g re at s ens e o f a e s th e ti c s
a n d d e s i g n e d i n a n u m b e r o f w a y s i n c l u d i n g e m b r o i d e r y,
a p p l i q u é w o r k , i n l a y o f p r e c i o u s s t o n e s , s i l v e r o r g o l d b r o -
c a d e , a n d t a s s e l l i n g T h e r e a s o n f o r th i s a b un d a n c e a n d va r i -
e t y m a y l i e i n t h e e n o r m o u s d i v e r s i t y o f c l i m a t i c c o n d i t i o n s ,
e t hn i c a n d c u l t ur a l tr a d i t i o n s , r i t u a l c o nv e n t i o n s , a n d e x p o -
s u r e t o t h e o u t s i d e w o r l d t h r o u g h v o y a g e s a n d t r a d e . T h e s e f actors, p erhaps in c omb ination, cata ly ze d the de velopment of
t h e p l e t h o r a o f t y p e s a n d v a r i a t i o n s o f f o o t w e a r t h a t w e r e and are to b e found a l l over Ind ia .
A s w e ha v e n o t e d e a r l i e r, s h o e s w e r e n o t w o rn d a i l y, b ut o n l y o n p a r t i c u l a r o c c a s i o n s In d e e d , a m a j o r p a r t o f In d i a enj oys a warm cl imate for most of the year and therefore there is hard ly an abso lute ne c essit y to wear sho es to prote ct the fe et a g a inst e xtrem e c l imati c c on d i ti ons su c h a s i c e an d sn ow a s i s th e ca s e in many o th er p ar ts o f th e worl d . Th e uti l i tari an an d f unctiona l a sp e ct of the sho e and fo ot wear is thus, to a de g re e, rep la c e d in th e In d i an c onte xt by a re l i g i o us , ri tua l , s ym b o l i c , c eremon ia l , or a l le g orica l va lue.
On l y in s o m e re g i o ns o f In d i a , su c h a s th e h i l l y n o r th ern
a n d n o r th- e a st ern re g i o ns , a re p ro d u c e d , t o th i s d ay, a va ri e t y
o f s h o e s , b o o t s , a n d s o c k s ma d e o f l e ath er, w o o l , o r ve g e ta b l e
f i b r e o r m i xe d mat er i a l s , that a r e d e l i g htf u l l y p at t ern e d a n d ,
b e s i d e s b e i n g d e c o r ati ve , p r o t e c t th e f e e t a g a i n s t th e e xtr em e
c l i mati c c o n d i ti o n s th er e . T h e n o r th- e a s t ern r e g i o n s o f th e
upp er Hima layan mounta ins are renowne d for their innovative manufacture of foot wear made of g rasses or re e ds, sometimes in
c o m b i nati o n w i th f e l t , w o o l , o r j ut e , w h i c h a r e i d e a l l y s u i t e d
for to the damp cl imate and ser ve a s prote ction a g a inst the biting cold of the hig h mounta in reg ions.
T h e b o o k , f i r s t o f i t s k i n d , t r a c e s t h e h i s t o r y o f In d i a n
f o o t w e a r f r o m a n c i e n t t i m e s t o d a t e t h r o u g h l i t e r a r y a n d
a r c h a e o l o g i c a l s o u r c e s , t a k i n g i n t o a c c o u n t t h e i r m a t e r i a l s ,
t e c hn i q u e s , t y p o l o g i e s , r e l i g i o u s a n d s o c i a l s i g n i f i c a n c e , a n d
cross- cu ltura l influenc es .
f i g u r e 9
Dev oti onal silk sha wl with w oven designs of feet and religi ous text in Bengali script. This t ype of sha wl was usually w orn by Hindu priests wh o prayed to Kali, g o ddess of destructi on The text gives Kali’s vari ous names, including Bhuvaneshwari, Chandi and Bhadrakali Varanasi, early 20th centur y.
B S M P8 8 4 5
f i g u r e 1 0
Bronze fo ot scrubber with ribbed surfa ce used to exfoliate and clean the sole of the feet. See pg. 3 5.
p a r t 1
T h e F o o t i n I n d i a n C u l t u r e
“ To p l e a s e h i m , M a d h a v i b a t h e d
h e r f ra g ra n t b l a c k h a i r, s o f t a s f l owe r p e t a l s , i n
o i l m i x e d w i t h t e n k i n d s o f a s t r i n g e n t s ,
f i v e s p i c e s , a n d a b l e n d o f t h i r t y - t w o p u n g e n t
h e r b s . Sh e t h e n a d o r n e d h e r t i n y f e e t ,
t h e i r s o l e s d y e d re d , w i t h we l l - c h o s e n r i n g s o n
e a c h o f h e r s l e n d e r t o e s . Sh e l o a d e d
h e r a n k l e s w i t h j e we l l e r y m a d e o f s m a l l b e l l s ,
r i n g s , c h a i n s , a n d h o l l ow a n k l e t s …”
T h e Shilappadikaram, 3 r d c e n t u r y A D
f i g u r e 1 1
Angavastra, or a bro cade cl oth depicting a row of Vishnupada (fo otprints of Vishnu) on the b order
Varanasi, early 20th centur y
Collection: Crafts Museum, New Delhi
In the traditional Indian religious context it is believed that the f e e t a r e t h e s u p p
afforded great significance. Given this, it is no surprise that the feet of elders are venerated, and those of the divine worshipped
a n d r e v e r e d T h e a u t h o r K
among the foremost ancient historians of India (12th centur y), in his book R ajatarangini (1148-9) on the histor y of the kingd
K
ions of the region. He relates that once King Mihirakula, a Hun king who died in 542 in Kashmir, obser ved that his queen was wearing a jacket made of Sri Lankan cloth bearing the golden d
that he waged war on the latter.1 From this reference it appears that the practice of depicting the designs of footprints of royal personages was age-old. It is a traditional practice even today to depict the footprints of a religious leader, priest, or even a deity on cloths worn as coverings, angavastra, as an act of devotion
Fi
marks of Vishnu, Vishnupada, alternating with the symbol of Vaishnava religiosity, urdhva. Such religious textiles are often commissioned by the temple priest for use in rituals or gifted to him by devotees Similarly devotional silk shawls in Bengal had the motifs of feet woven on their borders and a religious text
s e t t i n g o u t t h e n a m e s o f t h e v a r i o u s n a m e s o f t h e G o d d
such as Kali, Bhuvaneshwari, Bhairavi, Chinnamasta, Vidyadhumavati. Hindu priests praying to the Goddess Kali draped these around their torsos (Fig. 9).
Ya k s h i a n d Sh a l a b h a n j i k a :
T h e Au s p i c i o u s To u c h o f t h e Fo o t
Yo u t h f u l f e m a l e g r a c e a n d c h a r m a re i n a s e n s e a re p re s e n t a -
t i o n o f t h e f e r t i l i t y a n d d y n a m i s m o f t h e c re a t i ve f o rc e s . It w a s
b e l i e v e d t h a t y o u n g v i r g i n s o f c e l e s t i a l b e a u t y, i n t h e a c t o f
b re a k i n g a t w i g o f a d e c i d u o u s t re e d u r i n g c e r t a i n s p r i n g r i t u -
a l s a n d by k i c k i n g i t s t r u n k w i t h t h e i r f o o t , c a u s e i t t o b l o s s o m
a n d g row by a w a k e n i n g i t f ro m i t s d o r m a n t s t a t e . S c u l p t u re s
d e p i c t i n g t h i s k i n d o f i c o n o g r a p h y, o f g i r l s k i c k i n g t h e t r u n k
o f a t r e e o r t w i n i n g a l e g a r o u n d i t , w h i l e b r e a k i n g o f f a
b r a n c h , a r e k n o w n a s s h a l a b h a n j i k a , m e a n i n g “ s h e w h o i s
b re a k i n g [ t h e b r a n c h o f ] a shala t re e ” o r yak shi ( Fi g 1 2 a n d 1 3 ) ,
o r n a t u r e s p i r i t s , a l s o k n ow n a s v r i k s h a k a s , o r t r e e s p i r i t s o f
e a r l y In d i a n c u l t u re . Ma n y o f t h e s e h a ve b e e n d e p i c t e d i n t h e
f i g u r e 1 2
T h i s s m a l l i v o r y f i g u r i n e r e l a t e s t o t h e shalabhanjika s c u l p t u r e s m a d e i n
s t o n e S h e w e a r s h e a v y s e t s o f a n k l e t s
r e a c h i n g u p t o h e r k n e e s
P r o b a b l y M a l w a , C e n t r a l I n d i a , f i r s t
c e n t u r y
C o l l e c t i o n : M u s e o N a z i o n a l e , N a p l e s , I t a l y
f i g u r e 1 4
A m a i d s e r v a n t a t t e m p t s t o r u b t h e r e d -
n e s s o f f h e r l a d y ’ s s o l e s , m i s t a k i n g t h e i r
n a t u r a l p i n k i s h t i n t f o r f a d e d lac d y e .
A b e a u t i f u l m o t i f d e s c r i b e d b y p o e t
B i h a r i L a l i n h i s l o v e - p o e t r y Satsai
M i n i a t u r e , P a h a r i
circa 17 9 0 - 18 0 0
P r i v a t e c o l l e c t i o n
f i g u r e 1 5
A b a r b e r ’ s w i f e p r e p a r i n g a nayika,
a h e r o i n e , f o r a t r y s t w i t h h e r l o v e r
S h e i s m i x i n g a p a s t e o f r e d lac d y e
w i t h w h i c h t o p a i n t h e r l a d y ’ s f e e t
M i n i a t u r e , K a n g r a , circa 17 8 0
C o l l e c t i o n : D r a n d M r s W i l l i a m K
E h r e n f e l d , S a n F r a n c i s c o B a y A r e a
s t u p a s o f Bh a r h u t a n d Sa n c h i T h e s e shalabhanjikas , d i s p l a y -
i n g t h e i r f e m i n i n e c h a r m s , a re u s u a l l y e xq u i s i t e l y b e j e we l l e d
w i t h r i c h a n d h e a v y a n k l e t s , a r m l e t s , n e c k l a c e s , a n d e a r r i n g s .
R o m a n t i c C o n n o t a t i o n s o f t h e F o o t
T h e Fo o t a n d Fe m a l e Be a u t y
T h e f o o t i s o n e o f t h e m o s t a d m i re d p a r t s o f t h e f e m a l e b o d y
i n t h e In d i a n p e rc e p t i o n o f ro m a n t i c i s m a n d e ro t i c i s m T h i s
m a y b e o n e o f t h e re a s o n s w h y yo u n g g i r l s a n d w o m e n d e c o -
r a t e t h e s o l e s o f t h e i r f e e t i n
c o l o u r i n g t h e m w i t h re d a l t a o
t
ancient Indian writers invariably describe the dyeing of the feet with lac-dye as an impor tant aspect of body decoration. Lac, the dark red resinous incr ustation secreted as a protective covering by some female parasitic insects, such as Laccifer lacca or Kerria lacca, has commonly been used all over India from ver y a n c i e n t t i m e s , t o m a k e s h
Fo
women, lac has always been a ver y impor tant means of colouring their lips, palms, and the soles of their feet. The word used i n c l a s s i c a l Sa n s k r i t l i t e r a t u re f o r t h i s i s a l a k t
the ‘juice of lac’. In the well-known Indian epic, the R amayana, which is ascribed to the poet Valmiki, and probably existed in its present form towards the close of the second centur y A D , there is a reference to Princess Sita’s tender feet being as brilliant as vermillion and as beautiful as lotus buds even after traversing rough roads to the forest exile with her husband.
It i s s a i d : ‘ He r f e e t , b r i l l i a n t a s ve r m i l l i o n ,
t h o u g h n o l o n g e r t i n t e d , a re t o d a y a s b e a u t i f u l a s l o t u s b u d s , a n d , w i t h h e r t i n k l i n g a n k l e t s , s h e t r i p s a l o n g ,
f o r e ve n n ow Va i d e h i i s a l w a y s a d o r n e d t o p l e a s e h e r l o rd .’ 2
T h e f a m o u s In d i a n p o e t K a l i d a s a , w h o p ro b a b l y l i ve d d u r i n g
t h e Gu p t a p e r i o d i n t h e f o u r t h - f i f t h c e n t u r i e s A . D . , c a l l s t h e
l a c - d ye ( l a k s h â ra s a ) “ s o e xc e l l e n t t o s t a i n h e r f e e t ” . 3 In m i n i a -
t u r e p a i n t i n g , t h i s c o l o u r i n g a n d “ s t a i n i n g ” o f t h e s o l e s i s
d e p i c t e d a s a d e l i c a t e r e d o u t l i n e o f t h e s o l e o f t h e f e m a l e
f o o t . T h e re a re i n n u m e r a b l e m i n i a t u re s t h a t d e p i c t a n a y i k a ,
a h e r o i n e o f l ov e , p r e p a r i n g h e r s e l f f o r t h e a n t i c i p a t e d t r y s t
w i t h h e r l o v e r a t n i g h t b y b e a u t i f y i n g h e r b o d y, i n c l u d i n g
It is a common practice all over India to exquisitely ornament a bride for the marriage ceremony (Fig. 17). In addition to ornaments in gold and silver, intricate decorative motifs are painted over the palms of her hands; her arms and feet are tattooed, and her soles are coloured red or decorated with lac or h e n n
munity of Bihar and Bengal. In the latter’s marriage ceremony the village barber colours the feet of the bride and bridegroom with cotton soaked in lac-dye as par t of the ritual.6
Another ver y common material that is used for colouring the fingernails, the palms, the soles of the feet, and toenails, as well as for dyeing the hair is henna which is used by men and women alike. This dye, which impar ts a reddish-yellow colour, is prepared from the powdered leaves and shoots of the henna plant (Lawsonia iner mis), a common shr ub all over India.
A g i r l o r y o u n g w o m a n d
r e d , b u t a l s o d e c o r
d e s i g n s ( Fi g 1 8 a n d 1 9 ) Su c h t a t t o
p
ov e r
In d i a . Of t e n t h e t a t t o o e r s h a ve s a m p l e s h e e t s o f d e s i g n s w i t h
t h e m f r o m w h i c h t h e g i r l s a n d w o m e n s e l e c t t h e o n e t h e y
w a n t t a t t o o e d o n t h e i r f e e t , a n k l e s , t h i g h s , a r m s , f a c e , o r
n e c k O f t e n t h e s e d e s i g n s h a v e e r o t i c c o n n o t a t i o n s , s u c h a s
t h e f i s h , t h e s c o r p i o n , o r t h e p e a c o c k
T h e So u n d o f t h e Fo o t a n d i t s Be a u t y
T h e c h a r m o f t h e r h y t h m i c s w i n g i n g o f t h e f e m a l e b o d y a n d
w a v y s k i r t s i s e n h a n c e d b y t h e j i n g l i n g s o u n d s o f a n k l e t s i n
g o l d , s i l v e r, b r a s s o r o t h e r m e t a l a l l oy s T h e r h y t h m i c s o u n d s
o f w o m e n ’ s a n k l e t s i n s p i re d c l a s s i c a l In d i a n p o e t s t o d e s c r i b e
t h e g a i t o f a n a y i k a , t h e h e r o i n e o f l o v e - p l a y i n r o m a n t i c
In d i a n l i t e r a t u r e , a s b e w i t c h i n g a n d s e d u c t i v e . T h e a s s o c i a -
t i o n i s t h a t s h e h a s b e d e c k e d h e r s e l f w i t h t h e m o s t w o n d e r -
f u l j e w e l l e r y i n a n t i c i p a t i o n o f a re n d e z v o u s w i t h h e r l ov e r i n
a s e c l u d e d g r ov e T h e s o u n d s o f t h e a n k l e t b e l l s h a v e s t i m u -
l a t e d i n n u m e r a b l e w r i t e r s t o e q u a t e t h e m w i t h f e m a l e b e a u t y
a n d s e n s u a l i t y. T h e j i n g l i n g r e s o n a n c e o f t h e a n k l e t s i n a
b u s y s t re e t o r e c h o i n g t h r o u g h t h e s i l e n t n i g h t o p e n s u p a n
e n d l e s s v i s t a o f f a n t a s i e s i n t h e m i n d o f t h e o b s e r v e r, a n d
m a y h a v e i n s p i r e d s o m e w r i t e r s o f t h e c l a s s i c a l p e r i o d o f
I n d i a n l i t e r a t u r e t o c l a s s i f y n a y i k a s , t h e h e r o i n e s o f l o v e ,
a c c o rd i n g t o t h e i r n a t u r a l g a i t . Fo r i n s t a n c e , g a j a g a m i n i i s a
g i r l w i t h a s t a t e l y, e l e p h a n t - l i k e w a l k , a n d t h e re f o re s p e c i a l l y
d e s i r a b l e . 7 T h e e l e p h a n t i n In d i a , c o n s i d e re d a r oy a l , n o b l e ,
a n d a u s p i c i o u s a n i m a l , s e r v e d a s t h e m o d e l f o r t h e g a j a -
g a m i n i w h o i s s e e n a s a w o m a n o f u n i q u e c h a r m , g r a c e , a n d
s e x u a l i t y
C l a s s i c a l In d i a n d a n c e i s g ov e r n e d b y d e t a i l e d p re s c r i p -
t i o n s r e l a t i n g t o m o v e m e n t s o f t h e b o d y, t h e h a n d a n d t h e
f o o t . I n m o s t c l a s s i c a l I n d i a n d a n c e s , r h y t h m i c f o o t w o r k i s
o n e o f t h e m o s t i m p o r t a n t e l e m e n t s , i n c o m b i n a t i o n w i t h
g e s t u re s o f t h e a r m s , h a n d s , a n d e ye m ove m e n t s . T h e va r i o u s
c l a s s i c a l t e x t s o n d a n c e , s u c h a s t h e Na t y a s h a s t ra , p r o v i d e
e l a b o r a t e d e t a i l s o n t h e p o s i t i o n i n g o f t h e f o o t a n d i t s c o n t a c t
w i t h t h e g ro u n d a n d t h e va r i o u s p o s s i b l e p l a c e m e n t s , s u c h a s
t h e w h o l e f o o t b e i n g p l a c e d o n t h e g ro u n d , t h e t o e a n d b a l l o f
t h e f o o t t o u c h i n g t h e g r o u n d o r o n l y t h e h e e l s o r b i g t o e
d o i n g s o.8 T h e r h y t h m i c s t a m p i n g o f t h e f o o t i n i t s v a r i o u s
p o s i t i o n s , e m b e l l i s h e d w i t h a n k l e t s a n d t h e t i n k l i n g o f h u n -
d r e d s o f t i n y b e l l s ( Fi g 2 0 ) , p r o v i d e s a s p e c i a l c h a r m t o
c l a s s i c a l I n d i a n d a n c e T h e ‘ m u s i c o f t h e a n k l e b e l l s ’ i s
r e f e r r e d t o i n t h e c e l e b r a t e d c l a s s i c a l Ta m i l t r a g e d y, Sh i l a p -
p a d i k a ra m , “ T h e A n k l e Br a c e l e t ” w h i c h c e n t r e s a r o u n d t h e
f a t e a n d f o r t u n e o f a Ta m i l h e ro i n e ’ s a n k l e t s . 9
C l a s s i c a l In d i a n l i t e r a t u re p rov i d e s d e t a i l e d d e s c r i p t i o n s of the bodily attributes of a woman and the characteristics of
b e a u t y a s t h e y w e re t h e n re c o g n i s e d A m o n g t h e s e a re : f i n e ,
s m o o t h , a n d p i t c h - d a r k h a i r ; s e p a r a t e e y e b r o w s ( i . e . , n o t joined together in a single wavy line); round legs that are not h a i r y ; c l o s e l y s e t t e e t h ; w e l l - p r o p o r t i o n e d t e m p l e s , e y e s ,
h a n d s , f e e t , a n k l e s , t h i g h s ; g r a d u a l l y r o u n d e d f i n g e r n a i l s ; heavy breasts with deeply set nipples; a deep navel; a soft body; a complexion like the colour of a precious stone, standing firm
o n t h e t o e s a n d s o l e s , a n d l o t u s m a r k s o n t h e f e e t . T h e R amayana discusses female beauty when describing princesses and young girls from the aristocracy: they are born with lotus signs on their feet as a mark of their upper-class bir th, whereas a widow shows signs of her beleaguered state on her body Sita, Rama’s young wife, laments:
Ye t I b e a r t h e m a rk s o f t h e l o t u s
m y f e e t by w h i c h h i g h - b o r n w o m e n re c e i ve t h e s u p re m e c o n s e c ra t i o n w i t h t h e i r
I f i n d i n m y s e l f a n y m a rk s o f i l l - f o r t u n e
T h e m o t i f o f t h e t e n d e r f o o t o f a y o u n g g i r l i n j u r e d b y t h e
s h a r p e d g e o f a b l a d e o f g r a s s w h e n w a l k i n g a l o n g a ro a d o r
c a s u a l l y s t r o l l i n g i n a g a r d e n o c c u r s r e p e a t e d l y i n c l a s s i c a l
In d i a n l i t e r a t u re . K a l i d a s a i n Sh a k u n t a l a m u s e s t h i s t h e m e t o
d e s c r i b e t h e f i r s t i n t e r a c t i o n o f t w o p e o p l e w h o h a ve f a l l e n i n
l o v e T h e h e r m i t ’ s d a u g h t e r, S h a k u n t a l a , w h i l e t r y i n g t o
a t t r a c t t h e a t t e n t i o n o f K i n g D u s h y a n t a , w h o h a d f a l l e n i n
l ove w i t h h e r, c a l l s o u t t o h e r c o m p a n i o n :
An a s u y a , m y f o o t i s c u t by t h e p o i n t
o f a f re s h k u s h a - b l a d e ; a n d m y b a rk - d re s s i s c a u g h t o n a
k u ra b a k a t w i g Wa i t f o r m e w h i l e I l o o s e n i t 11
T h e b l a d e o f g r a s s t h a t h a s i n j u re d h e r f o o t p rov i d e s h e r w i t h
a n e xc u s e t o s t o p w a l k i n g , e n a b l i n g Du s h y a n t a t o p ro l o n g t h e
g l i m p s e o f h i s b e l ove d . A s i m i l a r m o t i f i s o f a t h o r n p i e rc i n g
t h e t e n d e r f o o t o f a yo u n g g i r l , g i v i n g h e r b e l ove d a n o p p o r -
t u n i t y t o h o l d h e r f o o t t o e x t r a c t i t . A 2 0 t h c e n t u r y b r o n z e
f ro m In d i a i n t h e c o l l e c t i o n o f t h e Ba t a Sh o e Mu s e u m d e p i c t s
s u c h a yo u n g g i r l s t a n d i n g o n o n e l e g a n d l i f t i n g t h e o t h e r o n e
t o p u l l o u t a t h o r n ( Fi g 2 3 )
A h a t , a n Urd u w o rd , e n c a p s u l a t e s t h e e n t i re c o m p l e x o f
f e e l i n g s t h a t f l o o d i n w h e n o n e s e n s e s t h a t a p e r s o n i s
a p p ro a c h i n g , e x p re s s i n g a l l t h e n u a n c e s o f t h e v i b r a t i o n s t h a t
t h i s b r i n g s a b o u t T h e f e e l i n g s r a n g e f ro m t h e g l o r i o u s a n t i c -
i p a t i o n o f m e e t i n g t h e b e l ove d , t o i m p a t i e n c e a n d t h e f e a r o f
a s t r a n g e r w h o s e i n t e n t i o n s a r e n o t c l e a r, a n d t h e s e a r e a l l
c o n ve ye d by t h e r h y t h m i c a n d g e n t l e s o u n d s o f t h e f o o t s t e p s
o f t h e p e r s o n a p p ro a c h i n g . K a l i d a s a , i n h i s p l a y Sh a k u n t a l a m
d e s c r i b e s t h e n u a n c e s o f t h e i m a g i n a t i o n o f o n e w h o s e
b e l ove d i s a p p a re n t l y n e a r by :
On t h e w h i t e s a n d a t i t s d o o r
i s d i s c e r n e d a f re s h l i n e o f f o o t s t e p s , ra i s e d i n f ro n t ,
a n d d e p re s s e d b e h i n d by t h e we i g h t o f h e r h i p s . 12
T h e s e a re t h e w o rd s K a l i d a s a u s e s t o d e s c r i b e t h e s i t u a t i o n o f
Du s h y a n t a , w h o p e e p s t h r o u g h t h e f o l i a g e i n t h e h e r m i t a g e
a n d d i s c ove r s t h a t Sh a k u n t a l a a n d h e r c o m p a n i o n s h a ve j u s t
p a s s e d by a n d l e f t f o o t m a rk s o n t h e s a n d
In t h i s c o n t e x t , i t i s i n t e re s t i n g t h a t t h e t o u c h o f t h e f o o t
o f a yo u n g g i r l o r w o m a n i s c o n s i d e re d t o b e a u s p i c i o u s a n d a
p r o f o u n d e x p r e s s i o n o f l o v e a n d d e v o t i o n . T h e t h e m e o f a
b e a u t i f u l w o m a n t o u c h i n g a m a n w i t h h e r f o o t i n a n e r o t i c
g e s t u r e i n m o m e n t s o f i n t i m a c y h a s b e e n w o v e n i n t o a
f i g u r e 2 2
E a r l y 2 0 t h c e n t u r y d r a w i n g o f a f u l l
s e t o f f o o t a n d t o e o r n a m e n t s
F r o m The Journal of Indian Art and Industry
h u m o r o u s p l a y c a l l e d Pa d a t a d i t a k a m ( “ H i t b y t h e Fo o t ” ) ,
c o m p o s e d i n t h e f i f t h c e n t u r y i n Sa n s k r i t . 13 T h e s t o r y re vo l ve s
a r o u n d a b r a h m i n n a m e d V i s h n u n a g a w h o f e l l i n l ov e w i t h
M a d a n a s e n a , t h e c h i e f c o u r t e s a n o f S a u r a s h t r a . O n c e
Ma d a n a s e n a , i n a ro m a n t i c m o o d , j o k i n g l y p l a c e d h e r f o o t o n
t h e h e a d o f h e r l ove r Vi s h n u n a g a , i n e x p e r i e n c e d i n t h e a r t o f
l ove - p l a y, t o o k t h i s u l t i m a t e e x p re s s i o n o f a f f e c t i o n a n d d e s i re
a s a n o f f e n c e . He w a s i n f u r i a t e d by t h e i d e a t h a t t h e h e a d o f a
s a c re d b r a h m i n s h o u l d b e s o a b u s e d by t h e t o u c h o f a l ow l y –
t h o u g h b e a u t i f u l – w o m a n , a n d h e i n s u l t e d Ma d a n a s e n a . A
f r i e n d m e d i a t e d a n d r e b u k e d V i s h n u n a g a f o r h i s c r u d e
re s p o n s e t o a g e s t u re o f l ove a n d t e n d e r n e s s by s u c h a b e a u t i -
f u l w o m a n , a n d c o n s o l e d Ma d a n a s e n a , s a y i n g t h a t t h e d i m w i t
Vi s h n u n a g a , f o r w h o m t h e t o u c h o f h e r f o o t s h o u l d h a ve b e e n
a m a t t e r o f d e l i g h t , d i d n o t d e s e r ve h e r.
T h e f o l l ow i n g d a y, t h e o f f e n d e d Vi s h n u n a g a we n t t o h i s caste council to seek advice on the prescribed means for expiation of this “sin” All the brahmins ridiculed him They told him that he should consider himself fortunate that such a renowned c o u r t e s a n h a d f a vo u re d h i m w i t h t h e t o u c h o f h e r f o o t . On e brahmin arranged for a companion to take Vishnunaga to a con-
f i g u r e 2 3
F i g u r e o f a y o u n g w o m a n b e n d i n g
d o w n t o r e m o v e a t h o r n f r o m t h e s o l e
o f h e r f o o t I n a d d i t i o n t o b e i n g a
p h y s i c a l n e c e s s i t y , t h e g e s t u r e i s a
f l i r t a t i o u s o n e .
B r o n z e , N o r t h e r n I n d i a , 2 0 t h c e n t u r y
B S M P 7 9 5 6 9
ference of connoisseurs of love where a proper means of purification was likely to be found. The place was amidst the quarters of the courtesans of the town. All around an atmosphere of fes-
t i v i t y re i g n e d , m a r k e d b y l i g h t s , i n c e n s e , f l ow e r s , p e r f u m e s ,
music, and dance Kings, princes, ministers, renowned poets, singers and musicians were seen arriving and being greeted by
t h e i r f a v o u r i t e s No o n e s e e
nu naga ’ s prob le m. Variou s pu
Fi
Bh
the
women and love, himself desirous of the opportunity of having his body touched by Madanasena’s famed foot and experiencing
t h e s
Madanasena placed her foot on his, Bhatti Jimuta’s, head, Vishn u n a g a w o u l d b e p u r i f i e d o f t h e “ p o l l u t i o n ” . Vi s h n u n a g a , ignorant, and passionless, thanked Bhatti Jimuta for saving him and left happily
A n c i e n t In d i a n p o e t r y i s f u l l o f re f e re n c e s t o t h e b e l ove d
i n t h e a c t o f i n t i m a c y, w a n t i n g h e r l ove r t o h u m b l e h i m s e l f by
p u t t i n g h i s h e a d a t h e r f e e t a s a m a rk o f h i s u l t i m a t e e x p re s -
s i o n o f l ove a n d s u r re n d e r, a n d t h e l ove r, c o n s i d e r i n g i t a n a c t
o f g re a t a f f e c t i o n , d o i n g s o w i t h g re a t w i l l i n g n e s s . On e s u c h
s t a n z a w i t t i l y e x p re s s e s t h i s s e n t i m e n t :
T h e h a i r o f t h e l ove r, w h o h a s f a l l e n a t t h e
f e e t o f h i s b e l ove d , a re e n t a n g l e d i n h e r a n k l e t s , w h i c h
i n d i c a t e s t h a t t h e b e l ove d h a s g i ve n u p h i s p r i d e . 14
In a n o t h e r s t a n z a , t e a s i n g a s i m p l e a n d i n e x p e r i e n c e d g i r l , h e r
f e m a l e c o m p a n i o n t e l l s h e r :
In a m e re e n c o u n t e r w i t h yo u r l ove r, yo u a p p e a re d f u l l y p l e a s e d a n d t h e re by yo u d e p r i ve d yo u r s e l f
o f h i s c o a x i n g yo u by f a l l i n g a t yo u r f e e t o r
k i s s i n g yo u , e ve n w h e n yo u t u r n e d yo u r f a c e a w a y f ro m h i m . 15
Ev e n t h e m i g h t y S h i v a , t h e g r e a t g o d , d e s t r o y e r o f t h e
u n i ve r s e , h u m b l e s h i m s e l f by p u t t i n g h i s h e a d a t h i s c o n s o r t
Pa r va t i’s f e e t :
T h a t Sh i va , w h o s e i m a g e re f l e c t s t e n f o l d i n t h e
s u l k i n g Pa r va t i’s t o e n a i l s , Pa r va t i i s w o r t h y o f ve n e ra t i o n . 16
Si t a , o f t h e R a m a y a n a , i s p o r t r a ye d a s t h e e p i t o m e o f f e m a l e
b e a u t y A l l t h e re f e re n c e s t o h e r d e p i c t h e r w i t h d e l i c a t e a n d
f i g u r e 2 4
U p t o t h e l a t e 18 t h a n d i n t o t h e
19 t h c e n t u r y , t h e t h e m e o f
R a d h a c a r e s s i n g K r i s h n a ’ s f e e t
r e m a i n e d p o p u l a r
K a l i g h a t p a i n t i n g , C a l c u t t a ,
187 0
C o l l e c t i o n : C h e s t e r a n d D a v i d a H e r w i t z ,
U S A
we l l - s e t f e e t , w i t h c o p p e r y t o e n a i l s , a s l e n d e r w a i s t , a n d we l l -
d e ve l o p e d h i p s , l i k e a n i m a g e c a s t i n g o l d c re a t e d by i l l u s i o n
( m a y a ) . 17
O n e o f t h e m o s t p o p u l a r s u b j e c t s o f c l a s s i c a l p a i n t i n g s
a n d p o e t r y i s K r i s h n a s i t t i n g a t R a d h a ’ s f e e t a n d c a r e s s i n g
t h e m t e n d e r l y K r i s h n a , i n c o m p l e t e s u b m i s s i o n t o R a d h a ’ s
d e s i re s , i s t r y i n g t o p l e a s e h e r by t o u c h i n g h e r f e e t a n d g e n t l y
s t ro k i n g t h e m ( Fi g . 2 4 ) . Howe ve r, t h e o p p o s i t e ro l e s we re a l s o
f r e q u e n t l y a d o p t e d , w h e n t h e b e l ov e d i s s i t t i n g a t t h e g o d’s
f e e t a n d g e n t l y m a s s a g i n g t h e m a s a n e x p re s s i o n o f l ove ( Fi g .
2 4 ) A m i n i a t u r e d e p i c t s V i s h n u ( Na r a y a n a ) s i t t i n g o n h i s
t h ro n e , a t t e n d e d t o by h i s c o n s o r t L a k s h m i w h o i s s i t t i n g o n
t h e f l o o r a n d m a s s a g i n g h i s f e e t , a n d Sa r a s w a t i w h o i s s t a n d -
i n g b e h i n d t h e t h r o n e a n d f a n n i n g c o o l a i r w i t h a f l y w h i s k
( Fi g . 2 5 ) . T h e g o d s t o o e n j oy t h e e a r t h l y p l e a s u r e s o f a f o o t
m a s s a g e , a s a g a i n d e p i c t e d i n t h e m i n i a t u re w i t h Vi s h n u l y i n g
o n t h e s e r p e n t Sh e s h a , l u x u r i a t i n g i n a f o o t m a s s a g e a d m i n i s -
t e re d by h i s c o n s o r t Bh u d e v i ( Fi g 2 6 )
S i m i l a r m i n i a t u r e s d e p i c t i n g t h i s s i t u a t i o n e x e m p l i f y a
s l i g h t l y d i f f e re n t m o o d . K r i s h n a , w h e n o b l i g e d t o a d m i t t h a t
h e h a d s p e n t t h e n i g h t w i t h a n o t h e r w o m a n , b e g s f o r g i ve n e s s by f a l l i n g a t R a d h a ’ s f e e t a n d g e n t l y t o u c h i n g t h e m . T h e f e e t
i n t h i s c a s e b e c o m e a s y m b o l o f t h e d e s i re f o r re c o n c i l i a t i o n
T h e m i n i a t u re b e l o n g s t o t h e R a s i k a p r i y a s e r i e s p a i n t e d i n a
B a s o h l i w o r k s h o p i n t h e n o r t h w e s t e r n r e g i o n o f t h e
Hi m a l a y a a n d d a t e s t o t h e l a s t q u a r t e r o f t h e 1 7 t h c e n t u r y.
T h e m i n i a t u re i s a w o n d e r f u l e x a m p l e o f t h e ro l e o f t h e f o o t
i n l ov e - p l a y, m a n i f e s t i n g a r a n g e o f e m o t i o n s f r o m l ov e a n d
d e v o t i o n , t o h u m i l i t y a n d h u m i l i a t i o n , t o b e g g i n g f o r f o r -
g i ve n e s s a n d b e i n g p a rd o n e d ( Fi g 2 7 )
Sh a k u n t a l a , b l i n d e d by h e r l ove f o r Du s h y a n t a , s h owe d
d i s r e s p e c t t o a m e n d i c a n t w h o h a d j u s t a r r i v e d a t t h e h e r -
m i t a g e by n o t we l c o m i n g h i m p ro p e r l y. Fu r i o u s a t t h i s i n s u l t ,
h e c u r s e d h e r. Sh a k u n t a l a ’ s c o m p a n i o n , re a l i s i n g t h e g r a v i t y
o f t h e s i t u a t i o n , a d v i s e d h e r :
Go, f a l l a t h i s f e e t , a n d b r i n g h i m b a c k , w h i l s t I p re p a re a p ro p i t i a t o r y o f f e r i n g a n d w a t e r 18
A n a m u s i n g s t o r y i s n a r r a t e d b y t h e Ve n e t i a n t r a v e l l e r
Ma n u c c i , w h o s p e n t s e ve r a l d e c a d e s i n Mu g h a l In d i a , re g a rd -
i n g E m p e r o r Ja h a n g i r ’ s a l t e r c a t i o n w i t h h i s b e l o v e d q u e e n
a n d f a v o u r i t e w i f e Nu r Ja h a n S i n c e t h i s s t o r y r e v e a l s t h e
s p i r i t o f t h e t i m e s , i t i s w o r t h q u o t i n g i n f u l l :
Bu t t h e q u e e n , a f t e r t h e c u s t o m o f p e t t e d w o m e n ,
s h owe d h e r s e l f m o re a n g r y a n d o f f e n d e d t h a n b e f o re Sh e
w o u l d n e i t h e r t a k e h i s g i f t s , n o r l i s t e n t o t h e e xc u s e s h e
m a d e t o h e r In t h e e n d , t h ro u g h a t h i rd p e r s o n , s h e g a ve
Ja h a n g i r t o u n d e r s t a n d t h a t t h e o n l y w a y o f b e i n g p a rd o n e d
f o r t h e a f f ro n t w a s t o t h row h i m s e l f a t h e r f e e t . T h e k i n g ,
w h o c o u l d n o t l i ve w i t h o u t Nu r Ja h a n , w a s w i l l i n g t o c a r r y
o u t h e r w i s h e s , b u t h e f e a re d t o b e b l a m e d f o r s u c h a n a c t
w h i c h w o u l d g i ve r i s e t o a g re a t d e a l o f t a l k a m o n g h i s
p e o p l e ; t h e re f o re h e t o o k c o u n s e l w i t h a n o l d w o m a n At o n c e
s h e g o t h i m o u t o f h i s d i f f i c u l t y by a d v i s i n g h i m t h a t w h e n
t h e Qu e e n w a s w a l k i n g i n t h e g a rd e n , a n d t h e s u n w a s
s h i n i n g o n h e r, h e s h o u l d p l a c e h i m s e l f b e f o re h e r i n s u c h a
way that the shadow on his body should reach the Queen’s feet;
t h e n h e c o u l d b e s e e c h h i s l ove d o n e a s i f h e we re a t h e r f e e t
T h e o l d w o m a n g o t t h e Qu e e n i n t o t h e g a rd e n by
b e g u i l e m e n t s , a n d t h u s t h e K i n g a p p ro a c h e d u n t i l h i s
s h a d ow w a s a t t h e f e e t o f t h e Qu e e n . T h e n h e s a i d t o h e r, ‘ Be h o l d , m y s o u l i s a t yo u r f e e t ! ’ a n d t h u s p
The foot played an impor tant role in marriage rituals, at least in some par ts of India, which again impar ts a sense of the erotic s e n t i m e n t o f t h e t o u c h o f a n d b e i n g t o u c h e d by a g i r l’s f o o t .
Again Manucci, a keen obser ver of traditional Indian customs, re p o r t s i n h i s t r a v e l a c c o u n t t h a t a f t e r t h e c o n d i t i o n s o f t h e marriage were finalized between the families of the bride and bridegroom, the ‘bridegroom takes hold of the bride’s foot, and before ever ybody puts it three times on a stone which they use to cr ush their pepper and similar ar ticles of food’.20
A h a l y a
T h e t o u c h o f t h e f o o t n o t o n l y h a s ro m a n t i c a n d e ro t i c c o n -
n o t a t i o n s , b u t s i g n i f i e s t h e m a g i c a l p o w e r s i n h e r e n t i n a
d i v i n i t y, a s s e e n i n n u m e r o u s s t o r i e s i n I n d i a n e p i c s a n d
m y t h o l o g y. ( Fi g . 2 8 , 2 9 ) T h e A h a l y a s t o r y t h a t i s re l a t e d i n t h e
R a m a y a n a , i s i n t r i g u i n g i n t h i s c o n t e x t . It t e l l s o f A h a l y a
w h o s e h u s b a n d G a u t a m a , t h r o u g h a c u r s e , c a u s e d h e r t o
b e c o m e a s t o n e , o n l y t o b e re l e a s e d f ro m t h e c u r s e a e o n s l a t e r
a t t h e t o u c h o f R a m a ’ s f o o t
T h e t a l e o f t h e l i b e r a t i o n o f A h a l y a i s a p o p u l a r o n e i n
t h e e a s t In d i a n re g i o n o f Mi t h i l a , t h e re g i o n w h e re , a c c o rd i n g
t o l e g e n d , S i t a w a s b o r n . O n e o f t h e g r e a t e s t a r t i s t s o f t h e
Mi t h i l a s t y l e o f p a i n t i n g , Ga n g a De v i , h a s p a i n t e d t h e e n t i re
f i g u r e 2 7
K r i s h n a , i s f a l l i n g a t h i s b e l o v e d ’ s f e e t t o b e g f o r f o r g i v e n e s s a f t e r
s p e n d i n g a n i g h t w i t h a n o t h e r
w o m a n I l l u s t r a t i o n t o a s t a n z a f r o m
K e s h a v a d a s a ’ s Rasikapriya l o v e
p o e t r y
M i n i a t u r e , B a s o h l i , circa 16 9 0
C o l l e c t i o n : B a n a r a s H i n d u U n i v e r s i t y ,
B h a r a t K a l a B h a v a n , V a r a n a s i , 4 0 8
R a m a y a n a e p i c , i n c l u d i n g t h e s t o r y o f A h a l y a G a n g a D e v i
i n t e r p re t s h e r ve r s i o n a s f o l l ow s :
On c e In d ra a s k e d Su r y a t o i d e n t i f y t h e m o s t
b e a u t i f u l w o m a n i n t h e w o rl d . Su r y a re s p o n d e d by s a y i n g
t h a t h e w a s u n a b l e t o e n l i g h t e n In d ra o n t h i s s u b j e c t
b e c a u s e w h e re ve r h e a p p e a re d , a l l t h e p e o p l e re t re a t e d i n t o
t h e i r h o m e s , u n a b l e t o b e a r h i s h e a t Su r y a t h e n s u g g e s t e d
t h a t In d ra a s k C h a n d ra m a [ t h e m o o n ] . W h e n In d ra p u t t h e
s a m e q u e s t i o n t o C h a n d ra m a , s h e s a i d A h a l y a ,
s a g e Ga u t a m a ’ s w i f e , w a s t h e m o s t b e a u t i f u l w o m a n s h e h a d
s e e n . On h e a r i n g t h i s , In d ra we n t t o Ga u t a m a ’ s
h e r m i t a g e a n d , a d o p t i n g t h e f o r m o f a c o c k , c rowe d s h r i l l y a t
m i d n i g h t Ga u t a m a , b e l i e v i n g i t w a s a l re a d y d a w n ,
we n t t o t h e r i ve r t o b a t h e a n d s a y h i s m o r n i n g p ra ye r s . In t h e
m e a n w h i l e In d ra , a s s u m i n g Ga u t a m a ’ s s h a p e ,
m a d e l ove t o A h a l y a . By t h e n Ga u t a m a , re a l i s i n g t h a t i t w a s
s t i l l m i d n i g h t a n d n o t d a w n , re t u r n e d t o h i s h u t
t o f i n d t h e d o o r l a t c h e d f ro m i n s i d e A h a l y a o p e n e d t h e d o o r
i n u t t e r c o n f u s i o n , a n d Ga u t a m a w a s s o e n ra g e d t o s e e
In d ra a n d A h a l y a t o g e t h e r t h a t h e p u t a c u r s e o n In d ra t h a t
h e w o u l d d e ve l o p p h a l l u s e s a l l ove r h i s b o d y L o o k i n g
a t A h a l y a , w h o s t o o d s i l e n t l i k e a ro c k , h e s a i d s h e w o u l d
t u r n i n t o a ro c k a n d re m a i n i n t h a t f o r m t i l l t h e d u s t
f ro m R a m a ’ s f e e t f e l l o n i t i n t h e t re t a y u g a . Sh e w o u l d t h e n re t u r n t o h e r n a t u ra l f o r m . 21
In h e r p a i n t i n g Ga n g a De v i d e p i c t s t h e l i b e r a t i o n o f A h a l y a
by R a m a , w h e n h e , L a k s h m a n a , a n d Vi s h va m i t r a we re j o u r -
n e y i n g t o Ja n a k p u r R a m a i s c o i n c i d e n t a l l y t o u c h i n g a r o c k
w i t h h i s f o o t a n d A h a l y a i s b e i n g i n s t a n t a n e o u s l y t r a n s -
f o r m e d i n t o h e r o r i g i n a l f o r m a s a w o m a n . 22
T h e To e a n d i t s Ro m a n t i c C o n n o t a t i o n s
In the classical romantic literature of India there is one motif
t h a t r e p e a t e d l y o c c u r s i n d e s c r i p t i o n s o f t h e b e a u t y o f a
woman ’ s body Since it was common practice, at least among the aristocracy and well-to-do class of society, for women usu-
a l l y t o b e c o n f i n e d t o t h e s p h e re o f h o u s e h o l d a c t i v i t i e s a n d
child care and to not mix freely with the wider male world outside, the absence of frequent encounters stimulated the imagination of writers and painters In these circumstances, it was
quite understandable that description of female beauty in literature or its depiction in the ar ts was cloaked in myster y This m a y b e o n e o f t h e r e a s o n s w h y t h e m o t i f o f i m a g i n i n g t h e entire body of a woman from the sight of just a small par t of it, such as the foot or even only a toe, is ver y common in ancient
In d i a . T h i s m o t i f a p p e a r s i n l i t e r a t u re a s we l l a s i n p a i n t i n g , and its romantic connotations are ver y palpable
T h e Ja n a t a d h a r m a k a t h a , a Ja i n a t e x t re l a t i n g t h e s t o r y o f
Ma l l i , d e s c r i b e s h ow a p a i n t e r d re w a c o m p l e t e p i c t u re o f t h e
b o d y o f a b e a u t i f u l w o m a n a f t e r o n l y s e e i n g h e r t o e , i n c i t i n g
t h e w r a t h o f h e r b ro t h e r. Ma l l i d i n n a , Ku m a r i Ma l l i’s b ro t h e r,
o r d e r e d a p a i n t e r t o e x e c u t e a c h i t ra s h a l a , a h a l l d e c o r a t e d
w i t h w a l l p a i n t i n g s , f o r h i s p l e a s u re , i n h i s re s i d e n c e On e o f
t h e p a i n t e r s h a d s u c h s k i l l s t h a t h e c o u l d p o r t r a y a c o m p l e t e
p e r s o n f ro m o n l y a p a r t o f t h e b o d y h e h a d s e e n . T h u s , h a v -
i n g o n l y o n c e s e e n M a l l i’s t o e h e p o r t r a y e d h e r i n t h e h a l l .
S e e i n g t h e p o r t r a i t o f h i s s i s t e r i n h i s p l e a s u r e h o u s e ,
Ma l l i d i n n a w a s i n f u r i a t e d a n d c h o p p e d o f f t h e a r t i s t ’ s f i n g e r
a n d t h u m b T h e a r t i s t , h o w e v e r, w e n t t o a n o t h e r k i n g a n d
a g a i n p a i n t e d t h e s a m e p o r t r a i t o f Ma l l i a n d s h owe d i t t o t h e
k i n g , w h o f e l l i n l ove w i t h t h e g i r l d e p i c t e d a n d t h u s t h e s t o r y
f i g u r e 2 8
I n t h i s d e p i c t i o n o f t h e A h a l y a
e p i s o d e o f t h e Ramayana, A h a l y a ,
w h o h a d l o n g a g o b e e n t r a n s f o r m e d
i n t o a s t o n e b y a c u r s e , i s r e s t o r e d
t o h u m a n f o r m b y t h e t o u c h o f
R a m a ’ s f o o t
P a i n t e d b y G a n g a D e v i , 19 87
C o l l e c t i o n : C r a f t s M u s e u m , N e w D e l h i
f i g u r e 2 9
I n t h i s d e p i c t i o n o f t h e A h a l y a
e p i s o d e o f t h e Ramayana, R a m a
s t a n d s o n t h e l a r g e s t o n e w h i l e t h e
b e a u t i f u l A h a l y a t o u c h e s h i s f e e t i n
g r a t i t u d e
M i n i a t u r e , B a s o h l i , circa 17 3 0 - 4 0
C o l l e c t i o n : N a t i o n a l M u s e u m , N e w D e l h i ,
47 1 10 / 3 2 6
t h a n t o r e c e i v e a f o o t m a s s a g e f r o m a n a t t e n d a n t
A m i n i a t u re ( Fi g . 3 1 ) o f t h e Ja i p u r s c h o o l o f p a i n t i n g o f
R a j a s t h a n d a t i n g t o t h e t h i r d q u a r t e r o f t h e 1 8 t h c e n t u r y,
d e p i c t s Ma d h o Si n g h o f Ja i p u r p l a y i n g c h e s s . A l re a d y, a t f i r s t
g l a n c e , t h i s m i n i a t u r e e v o k e s a s e n s e o f l u x u r y, i n d u l g e n c e ,
a n d c o n t e n t m e n t T h e k i n g l i e s o n a h u g e b o l s t e r o n a l o w
c o u c h , h i s u p p e r g a r m e n t c a s u a l l y o p e n e d , t u r n i n g h i s b o d y
t o w a r d s o n e s i d e w h e r e , a t a l o w t a b l e , t h r e e c o u r t i e r s a r e
s e a t e d a c ro s s f ro m h i m . W h i l e t h e k i n g p l a y s c h e s s , a n a t t e n -
d a n t , w h o s i t s o n t h e f l o o r a t t h e e n d o f t h e c o u c h , m a s s a g e s
t h e K i n g ’ s f o o t T h e c o o l n e s s o f t h e a t m o s p h e re i s v i v i d l y c o n -
ve ye d by t h e p a i n t e r t h ro u g h t h e d o m i n a n t u s e o f w h i t e f o r
t h e t e r r a c e , i t s b a l u s t r a d e s , t h e f a ç a d e o f t
b a c k g ro u n d , t h e p e o p l e ’ s a t t i re , t h e c ove r s o f t h e b o l s t e r s , t h e
b e d s h e e t . A l i t t l e t o u c h o f c o l o u r i s p rov i d e d a s c o n t r a s t by
t h e t u r b a n s , t h e r o u n d c u s h i o n s a g a i n s t w h i c h t h e k i n g i s
re c l i n i n g , a n d t h e w o o d e n f r a m e o f t h e c o u c h
De c o r a t i o n o f t h e Fo o t : To e - ri n g , A n k l e t s , Ta t t o o s
From archaeological evidence it appears quite cer tain that during the period of the Indus Valley Civilisation girls and women wore a variety of ornaments such as headdresses, earrings, neck-
l a c e s , r i n g s f o r t h e f i n g e r s , b a n g l e s a n d b r a c e l e t s a s w e l l a s anklets to beautify their ankles and feet The Mahabhasya, the ‘Great Commentar y ’ , by the grammarian Patañjali who lived during the second centur y B.C., refers to the various types of
o r n a m e n t s t h a t w o m e n w o re a t t h a t t i m e , s u c h a s n e c k l a c e s (r uchaka), bracelets (kangana), earrings (kundala), armlets and anklets with a tinkling sound (nupura) Such anklets studded with precious jewels were called mani-nupura 27
A s o n e c a n s e e f ro m t h e Bh a r h u t s c u l p t u re s d a t i n g t o t h e
S h u n g a p e r i o d o f t h e f i r s t a n d s e c o n d c e n t u r i e s B . C . , i t i s
q u i t e a p p a re n t t h a t w o m e n w o re h e a v y a n k l e t s b u t n o s h o e s .
D u r i n g t h e s u b s e q u e n t Ku s h a n a p e r i o d , a s t h e s c u l p t u r e s
i n d i c a t e , t h i s c u s t o m f o r w o m e n t o b e a u t i f y t h e m s e l ve s w i t h
va r i o u s t y p e s o f a n k l e o r n a m e n t c o n t i n u e d
T h e Sh i l a p p a d i k a ra m , o n e o f t h e g re a t c l a s s i c s o f In d i a n
l i t e r a t u re w r i t t e n i n a n c i e n t Ta m i l , i t s a u t h o r s h i p a t t r i b u t e d
t o Il l a n g o Ad i g a l , a Ja i n a p r i n c e o f t h e t h i rd c e n t u r y A . D . , i s
a t a l e o f t h e p l e a s u r e s a n d m i s f o r t u n e s s u r r o u n d i n g m a g i c
a n d h e r o i s m i n a p l e a s u r a b l e a n d a t t h e s a m e t i m e c r u e l
w o r l d T h e m a t c h l e s s y o u n g m e r c h a n t K o v a l a n , f o r m e r l y
d e e p l y i n l ove w i t h h i s b e a u t i f u l w i f e K a n n a g i , i s b e w i t c h e d
f i g u r e 3 1
M a d h o S i n g h o f J a i p u r p l a y i n g
c h e s s w h i l e g e t t i n g h i s f e e t m a s -
s a g e d ; a p e r f e c t d e p i c t i o n o f l u x u r y
a n d c o m f o r t .
M i n i a t u r e , J a i p u r , R a j a s t h a n ,
t h i r d q u a r t e r o f t h e 18 t h c e n t u r y
C o u r t s e y o f t h e A r t h u r M S a c k l e r M u s e u m ,
H a r v a r d U n i v e r s i t y M u s e u m s ,
Pr i v a t e C o l l e c t i o n
by t h e c o u r t e s a n Ma d h a v i , a n d t h o u g h h e re t u r n s re p e n t f u l l y
t o h i s w i f e a f t e r m a n y a d ve n t u re s , m e e t s h i s d e a t h b e c a u s e o f
c o n f u s i o n re s u l t i n g f ro m t w o s i m i l a r l o o k i n g a n k l e t s .
This epic, written in prose and verse, is truly a descripition
o f t h e c e n t r a l r o l e t h a t a n k l e t s p l a y i n t h e l i f e o f a n In d i a n woman, and many of its stanzas eulogize the beautifying effect of anklets:
Fra i l a n k l e s b e j e we l l e d w i t h c i rc l e t s ,
Ma d h a v i , t h a t b e a u t y o f Pu h a r,
d i s p l a ye d u p o n t h e s t a g e h e r d a n c e ,
h e r p re c i s e d i c t i o n , s u b t l e s e n s e o f t i m e ,
h e r k n ow l e d g e o f a l l rh y t h m i c p a t t e r n s ,
o f f i ve s o r t s o f t e m p l e s o n g s ,
o f t h e f o u r s y s t e m s o f m u s i c ,
o f e l e ve n k i n d s o f d a n c e .
He r f a m e s p re a d t o t h e e n d s o f t h e w o rl d . 28
How impor tant the colouring and decoration of the toes and ankles was in the preparation for love-play is vividly expressed:
To p l e a s e h i m , Ma d h a v i b a t h e d h e r f ra g ra n t
b l a c k h a i r, s o f t a s f l owe r p e t a l s , i n o i l m i xe d w i t h t e n k i n d s
o f a s t r i n g e n t s , f i ve s p i c e s , a n d a b l e n d o f t h i r t y - t w o
p u n g e n t h e r b s . Sh e t h e n a d o r n e d h e r t i n y f e e t , t h e i r s o l e s
d ye d re d , w i t h we l l - c h o s e n r i n g s o n e a c h o f h e r s l e n d e r t o e s
Sh e l o a d e d h e r a n k l e s w i t h j e we l l e r y m a d e o f s m a l l b e l l s ,
r i n g s , c h a i n s , a n d h o l l ow a n k l e t s . . . . 29 a n d
In t ox i c a t e d by d e s i re , s h e d a n c e d t h e b r i e f ,
l e wd d a n c e o f l u s t . He r f ra i l b o d y c o u l d n o t b e a r o r n a m e n t s :
s h e d a n c e d o n t h e s t e p s o f m y h o m e t o t h e
rh y t h m o f h e r s w a y i n g b e l t , t h e m u s i c o f h e r a n k l e b e l l s 30 a n d
A h e a v y c i rc l e t a d o r n e d h e r l e f t a n k l e . Sm a l l b e l l s t i e d t o h e r
f o o t s e e m e d t o f o re t e l l a v i c t o r y.31
T h a t g i r l s w a l k e d b a r e f o o t e v e n o n r o u g h r o a d s b e c o m e s
a p p a re n t f ro m t h e f o l l ow i n g :
T h e t e n d e r f e e t o f t h i s g i rl c a n n o t s t a n d t h e
ro u g h n e s s a n d t h e s h a r p s t o n e s o f t h i s p a t h . Su c h a b e a u t i f u l
yo u n g w o m a n s h o u l d n o t t ra ve l i n t h e f o re s t . . . .
Fra g ra n t - h a i re d K a n a k i’s t e n d e r f e e t we re b l i s t e re d : s h e g a ve
w a y t o t e a r s a n d m o a n s T h e y s t o p p e d n e a r a l o n e l y
v i l l a g e w h i c h w a s t h e t e m p l e o f A i y a i , t h e g o d d e s s o f h u n t e r s 32
A n u m b e r o f Ta m i l p o e m s f r o m c l a s s i c a l S a n g a m l i t e r a t u r e
re f e r t o g i r l s a n d w o m e n we a r i n g a n k l e t s . On e p o e m f ro m t h e
Pe r u m p a t u m a n a r s a y s :
T h i s b ow m a n h a s a w a r r i o r ’ s b a n d o n h i s a n k l e ;
t h e g i rl w i t h t h e b ra c e l e t o n h e r a r m h a s a v i r g i n ’ s a n k l e t s o n
h e r t e n d e r f e e t T h e y l o o k l i k e g o o d p e o p l e
In t h e s e p l a c e s t h e w i n d s b e a t u p o n t h e
va k a i t re e s a n d m a k e t h e w h i t e s e e d p o d s ra t t l e l i k e d r u m s
f o r a c ro b a t s d a n c i n g o n t h e t i g h t ro p e s . Po o r t h i n g s , w h o c o u l d t h e y b e ?
a n d w h a t m a k e s t h e m w a l k w i t h a l l t h e o t h e r s t h ro u g h t h e s e
d e s e r t w a y s s o f i l l e d w i t h b a m b o o s ? 33
In a stor y entitled Padumavati written by poet Malik Muhammad Jayasi who lived in Jayas in the Oudh region during the f i r s t h a l f o f t h e 1 6 t h c e n t u r y a n d w h o i s b u r i e d i n A m e t h i
w h o s e k i n g a p p r e c i a t e d h i s w o r k g r e a t l y, t h e r e i s a d e t a i l e d
description of a woman ’ s toilet The poet describes the beautif i c a t i o n o f a w o m a n b y b a t h i n g , t h e a p p l i c a t i o n o f s a n d a l
paste, colouring the par ting of her hair with vermilion powder, attaching a spangle to the forehead, applying collyrium to the inner eyelids, putting on earrings, nose-studs, necklaces, arml e t s , a g i rd l e a r o u n d t h e w a i s t , a n d a n k l e t s , a n d e a t i n g b e t e l
preparations to colour the lips a deep red
T h e re we re a w i d e va r i e t y o f a n k l e t s , m o s t m a d e o f s i l ve r
o r b r a s s . Pr i n c e s s e s , g i r l s f ro m t h e a r i s t o c r a c y, a n d t h o s e l a d i e s
w h o c o u l d a f f o r d t h e m w e r e f o n d o f a n k l e t s m a d e o f g o l d ,
s o m e t i m e s e v e n s t u d d e d w i t h d i a m o n d s , r u b i e s , p e a r l s , a n d
o t h e r p re c i o u s s t o n e s Su c h a n k l e t s we re u s u a l l y o n l y w o r n o n
ve r y s p e c i a l o c c a s i o n s s u c h a s a m a r r i a g e Ge n e r a l l y, we a r i n g
g o l d u p o n t h e f e e t w a s d i s c o u r a g e d a m o n g s t Hi n d u s a l l ove r
In d i a , e xc e p t b y r oy a l t y. How e v e r, g o l d w a s t h e a p p r o p r i a t e
m e t a l f o r c l a d d i n g a d e i t y ’ s f e e t , a s i s o f t e n t h e c a s e i n s o u t h
In d i a n t e m p l e s ( Fi g . 3 2 ) . It w a s a n a c t o f d e vo t i o n , e s p e c i a l l y
f o r t h e r u l e r s , t o g e t t h e c l a d d i n g o f t h e f e e t a s w e l l a s t h e
a n k l e t s o f t h e i d o l o f t h e t e m p l e d o n e o u t o f p u r e g o l d a s a
s i g n o f t h e roy a l ye a r n i n g t o s e e k s a l va t i o n a t t h e f e e t o f t h e
d e i t y ( Fi g . 3 3 , 3 4 ) .
In d i a n l i t e r a t u re o f t h e Mi d d l e A g e s m e n t i o n s t h a t we l l -
t o - d o w o m e n w o re n u m e ro u s o r n a m e n t s , s u c h a s b e j e we l l e d
b r a c e l e t s , e m e r a l d a n k l e t s , a n d g i rd l e s s t u d d e d w i t h r u b i e s ,
a m o n g o t h e r s . S i m i l a r l y, a l a t t a k a m ( l a c - d y e ) w i t h w h i c h
w o m e n u s e d t o d ye p a r t s o f t h e i r b o d y, p a r t i c u l a r l y t h e s o l e s
o f t h e i r f e e t a n d l i p s , a n d t u l a o d i , a n k l e t s 34 a re re f e r re d t o
Pa y a l , j h a n j h a r , a n d n u p u r a re o t h e r t e r m s p o p u l a r l y i n
u s e i n n o r t h e r n I n d i a t o d e n o t e a n k l e t s w i t h j i n g l i n g b e l l s
a t t a c h e d . Vi c h i y a i s a c o m b i n e d f o o t o r n a m e n t s h a p e d l i k e a
s c o r p i o n t h a t i s m e n t i o n e d i n t h e w o rk o f Na r s i Me h t a .
Eve n m e n o f t h e l owe s t s t r a t u m o f s o u t h In d i a n s o c i e t y
w o r e a n k l e t s , a s m a y b e s e e n i n t h e p l a y Ya s h a s t i l a k a c a m p u
c o m p o s e d i n A D 9 5 9 d u r i n g t h e r e i g n o f t h e R a s h t r a k u t a
r u l e r K r i s h n a I I I , w h i c h d e s c r i b e s t h e a t t i re a n d o r n a m e n t a -
t i o n o f a s p y w h o a s a l o i n c l o t h w o r e o n l y a p i e c e o f o l d
l e a t h e r f ro m a h o r s e s a d d l e , a n d a n k l e t s ( h a m s a k h a ) m a d e o f
b ro n ze 35 Ma n y o f t h e f o re i g n t r a ve l l e r s t o In d i a d e s c r i b e o n e
o r t h e o t h e r o r n a m e n t s w o r n by t h e w o m e n o n t h e i r a n k l e s o r
f e e t T h e r e i s m e n t i o n o f t h r e e g o l d r i n g s t o o r n a m e n t t h e
a n k l e c a l l e d j e h a r ; a n d p a y a l , a n o r n a m e n t f o r t h e l e g s , c a l l e d
k h a l k h a l i n A r a b i c , w a s a f a v o u r i t e b e c a u s e o f t h e c h a r m i n g
j i n g l i n g s o u n d m a d e b y t h e s m a l l m e t a l p e l l e t s i n s i d e w h e n
t h e p e r s o n we a r i n g i t m ove d 36
Ab u ’ l - Fa z l , i n h i s c h ro n i c l e o f t h e re i g n o f t h e Em p e ro r
A k b a r, e n u m e r a t e d i n h i s c h a p t e r o n “ Je w e l s ” , 3 7 d i f f e r e n t
t y p e s o f o r n a m e n t s t h a t w e r e t y p i c a l o f h i s t i m e s . A m o n g
t h e s e , d e c o r a t i o n o f t h e a n k l e s a n d t o e s a r e d e s c r i b e d i n
d e t a i l . He s a y s :
Je h a r, t h re e g o l d r i n g s , a s a n k l e - o r n a m e n t
T h e f i r s t i s c a l l e d c h u r a , c o n s i s t i n g o f t w o h o l l ow h a l f - c i rc l e t s
w h i c h , w h e n j o i n e d , f o r m a c o m p l e t e r i n g
T h e s e c o n d i s c a l l e d d u n d h a n i , a n d re s e m b l e s t h e f o r m e r ; t h e
d i f f e re n c e i s t h a t i t h a s s o m e e n g ra ve d d e s i g n s .
T h e t h i rd i s c a l l e d m a s u c h i a n d i s l i k e t h e s e c o n d , b u t
d i f f e re n t l y e n g ra ve d Pa i l , t h e a n k l e t ,
c a l l e d k h a l k h a l ( i n Ara b i c ) Gh u n g h r u , s m a l l g o l d e n b e l l s ,
s i x o n e a c h a n k l e , s t r u n g u p o n a s i l k t h re a d a n d w o r n
b e t we e n t h e j e h a r a n d k h a l k h a l . Bh a n k , a n o r n a m e n t f o r
t h e i n s t e p , c a n b e t r i a n g u l a r a n d s q u a re . Bi c h h w a h ,
a n o r n a m e n t f o r t h e i n s t e p i s s h a p e d l i k e h a l f a b e l l . A n w a t
i s a n o r n a m e n t f o r t h e g re a t t o e 37
f i g u r e 3 3
T h e d e c o r a t e d i m a g e o f
C h e l u v a n a r a y a n a s w a m y i n t h e
t e m p l e o f M a l k o t e i n K a r n a t a k a
w e a r i n g h e a v y a n k l e t s . T h e i n s c r i p -
t i o n r e a d s “ T h e d e v o t e e K r i s h n a r a j a
W o d e y a r w i s h e s a l w a y s t o l i e a t t h e
f e e t o f L o r d C h e l u v a n a r a y a n a s w a m y ”
T h e i m a g e d e p i c t s t h e r o y a l y e a r -
n i n g t o s e e k s a l v a t i o n a t t h e f e e t o f
t h e d e i t y .
P h o t o : C r a f t s C o u n c i l o f K a r n a t a k a ,
Temple Treasures, vol II: Temple Jewellery
( B a n g a l o r e , 19 9 5 )
f i g u r e 3 4
Paduka-bharana
f o r t h e p r o c e s s i o n a l
d e i t y S u c h padukas a r e t h e f i r s t o f
t h e i r k i n d f r o m C h e l u v a n a r a y a n a s w a m y
t e m p l e i n M a l k o t e , K a r n a t a k a .
P h o t o : C r a f t s C o u n c i l o f K a r n a t a k a ,
Temple Treasure, vol II: Temple Jewellery
( B a n g a l o r e , 19 9 5 )
Ab u ’ l - Fa z l g o e s o n t o s a y t h a t t h e s e o r n a m e n t s e n u m e r a t e d
b y h i m w e r e e i t h e r p l a i n o r s t u d d e d w i t h j e w e l s , a n d a r e o f
m a n y s t y l e s a n d m a d e w i t h e xq u i s i t e w o rk m a n s h i p, a n d t h a t
“ He r Ma j e s t y h a s s u g g e s t e d n e w p a t t e r n s i n e a c h k i n d” .
Re g i o n a l Va ri a t i o n s i n A n k l e t s
A n k l e t s a r e m a d e o f a v a r i e t y o f m a t e r i a l s , i n v a r i o u s f o r m s
a n d w i t h s u n d r y d e c o r a t i o n s a n d a re e i t h e r m a d e a s a s i n g l e
o r n a m e n t o r a s a m u l t i p l e p i e c e u n i t , e i t h e r s o l i d o r h o l -
l ow. 38( Fi g 3 5 t o 5 0 ) Ho l l ow a n k l e t s u s u a l l y h a ve s m a l l m e t a l
p e l l e t s i n s e r t e d t o e m i t a r h y t h m i c s o u n d w h e n t h e we a re r i s
w a l k i n g . Ga j j a l u i s o n e s u c h t y p e o f c a s t - b r a s s a n k l e b e l l s
f i x e d t o a l e a t h e r s t r i p w o r n b y a m a l e d a n c e r t o s o u n d t h e
r h y t h m w h i l e p e r f o r m i n g Go l i d a r p a i z e b a r e f l e x i b l e s i l v e r
c h a i n a n k l e t s t o w h i c h h u n d re d s o f s m a l l b a l l s , c a l l e d g o l i , a re
a t t a c h e d . Ty p i c a l a n k l e t s f r o m Gu j a r a t a re t o d o , p l u r a l t o d a ,
a n d j e ra m d a m g i o r k a d l a ; s i l ve r a n k l e t s c o m p o s e d o f c i rc u l a r
e l e m e n t s a l i g n e d i n r ow s a re k n ow n f r o m Ma d h y a Pr a d e s h ;
b e d i a re r i g i d , o n e - p i e c e s i l ve r a n k l e t s . K a ra a re t y p i c a l s i l ve r,
t w o p i e c e h o l l o w a n k l e t s f r o m R a j a s t h a n , a r e g i o n t h a t h a s
d e ve l o p e d g re a t s k i l l a n d i n g e n u i t y i n t h e p ro d u c t i o n o f a n k l e
f i g u r e 3 5
M a r r i e d w o m a n ’ s s i l v e r f o o t a n d t o e
o r n a m e n t s i n c l u d i n g a n k l e t s ( jurd)
c o n t a i n i n g j i n g l i n g u p p e r - f o o t o r n a -
m e n t ( pagpan) ; b i g a n d s m a l l t o e -
r i n g s ( naklia) j o i n e d b y f i v e c r o s s i n g
c h a i n s ; a n d t h r e e s m a l l t o e - r i n g s
b e t w e e n , a l l o r n a m e n t e d w i t h j i n g l i n g
b e l l s ( ghungru) a n d b a l l s (goli)
B i k a n e r , R a j a s t h a n , c o n t e m p o r a r y f i g u r e 3 6
F l e x i b l e s i l v e r c h a i n a n k l e t s (paizeb)
w i t h f r i n g e o f h o l l o w s i l v e r b a l l s ( goli jhaladar)
M a h a r a s h t r a / K a r n a t a k a , c o n t e m p o r a r y
B S M P 9 9 2 5 f i g u r e 3 7
P a i r o f h o l l o w t w o - p a r t s i l v e r a n k l e t s ( toda o r kalla) w i t h h i g h l y s t y l i s e d makara h e a d s T h e makara i s a
m y t h i c w a t e r m o n s t e r , a n d t h e v e h i c l e o f t h e g o d d e s s G a n g a , t h e
G a n g e s r i v e r p e r s o n i f i e d , a n d o f
V a r u n a , t h e g o d o f t e r r e s t r i a l w a t e r s . W o r n b y M a l d h a r i w o m e n , G u j a r a t ,
V a d o d a r a d i s t r i c t , l a t e 19 t h / e a r l y 2 0 t h c e n t u r y
B S M P 9 9 3 2
o r n a m e n t s , i n c l u d i n g t h e p a i z e b , f l e x i b l e s i l ve r a n k l e t s ; s a n t h
o r f l e x i b l e c h a i n a n k l e t s w i t h i n t e g r a l c a s t b e l l s c a l l e d g h u n g r u
m a d e i n a va r i e t y o f s h a p e s , s u c h a s l a u n g k e s a n t h a n d s a t w a n
s a n t h w i t h p l a i n l i n k s , a n d c h a k t i d a r s a n t h w i t h s m a l l t o p -
e d g e p ro j e c t i o n s Yo u n g g i r l s i n R a j a s t h a n we a r p a i n j i n , d e l i -
c a t e a n k l e t s , o f t e n w i t h a t t a c h e d p e n d a n t s i n t h e a u s p i c i o u s
m a n g o s h a p e O r i s s a i s w e l l - k n o w n f o r i t s l a r g e v a r i e t y o f
b r a s s a n d s i l v e r a n k l e t s , i n c l u d i n g g o d u a n d g o d a b a l a . G o n d
t r i b a l w o m e n o f Ma d h y a Pr a d e s h t a k e p r i d e i n we a r i n g c h u ra ,
t w o p i e c e a n k l e t s . B a v t h i ra , r i g i d h o l l o w s i l v e r a n k l e t s , a r e
a l s o f o u n d i n M a d h y a Pr a d e s h E n a m e l l i n g i s a t e c h n i q u e
k n ow n t o e n h a n c e t h e b r i l l i a n c e a n d l u s t re o f j e we l l e r y a n d i s
a l s o u s e d f o r f o o t o r n a m e n t s Ty p i c a l o f Pu n j a b a re j h a n j h a r ,
m e a n i n g t i n k l i n g , s i l ve r a n k l e t s . Wo m e n l i v i n g i n t h e Ja m m u
re g i o n we a r h e a v y s i l ve r a n k l e t s c a l l e d p a i z e b d e c o r a t e d w i t h
a u s p i c i o u s s y m b o l s o f f i s h , m a c h c h h i i k a p a i z e b, i n a d d i t i o n
t o r i c h s i l v e r o r n a m e n t s o n t h e i r h e a d s a n d a r m s Bi h a r h a s
o n e - p i e c e a n k l e t s k n o w n a s p a i r i S o u t h I n d i a i s a s r i c h i n
f o o t a n d a n k l e o r n a m e n t s a s t h e n o r t h A n d h r a Pr a d e s h h a s
o n e - p i e c e a n k l e t s c a l l e d w a n k i d i a n d m i l n a p a y a l w h i c h a r e
m a d e o f s m a l l i n t e r l o c k i n g u n i t s o f s i l ve r, o f t e n i n t h e s h a p e
o f t i n y f l owe r s . K a l c h i l a m p u a re c a s t b e l l - m e t a l a n k l e t s f ro m
Ke r a l a w o r n by p r i e s t s d u r i n g t e m p l e r i t u a l s
Pa n v k i u n g l i a n w a t ( o r b i c h h i y a ) a r e c a s t w h i t e m e t a l
t o e - r i n g s w o r n o n t h e m i d d l e t o e . To e - r i n g s a r e s o m e t i m e s
m a d e i n a u n i t o f t h r e e j o i n e d b y c h a i n s . B e a u t i f u l s e t s o f
o r n a m e n t s f o r t h e e n t i r e f o o t c o n s i s t o f r i g i d a n d f l e x i b l e
a n k l e t s , t o e - r i n g s f o r e a c h o f t h e f i v e t o e s c o n n e c t e d t o a n
a n k l e w i t h d e c o r a t i v e c h a i n s T h e w o m e n o f m i g r a n t c o m -
m u n i t i e s o f A n d h r a Pr a d e s h i n p a r t i c u l a r h a v e a c h i e v e d a
m a s t e r y i n d e c o r a t i n g t h e i r a n k l e s , f e e t , a n d t o e s .
Wo m e n o f t h e C h a m a r c a s t e o f B e n g a l , t h e c a s t e o f
l e a t h e r w o rk e r s o f n o r t h e r n In d i a , a re d i s t i n g u i s h e d by t h e i r
h e a v y a n k l e t s ( p a i r i ) o f a s p e c i a l k i n d m a d e o f b e l l - m e t a l
T h e s e o f t e n w e i g h f r o m e i g h t t o t e n p o u n d s a n d c l o s e l y
re s e m b l e t h o s e w o r n by t h e w o m e n o f t h e Sa n t h a l t r i b e l i v i n g
i n t h e n e i g h b o u r h o o d . Wo m e n f ro m a l l t h e t r i b a l g ro u p s g e n -
e r a l l y w e a r a n k l e t s , m a d e o f s i l v e r o r b r a s s ( Fi g . 5 1 , 5 2 , 5 3 ) .
T h e y a re a l s o ve r y f o n d o f t a t t o o i n g t h e i r b o d i e s a l l ove r, i . e .
t h e b re a s t s , f o re h e a d , a r m , a n d l e g 39
A n k l e t s s e r v e d n o t o n l y a s o r n a m e n t a t i o n f o r t h e b o d y,
b u t we re g i ve n a s re w a rd s t o d e s e r v i n g p e r s o n s A r u l e r o f t e n
g a v e a v a l u a b l e a n k l e t t o a n o b l e m a n , l a n d l o r d , o r v i l l a g e
f i g u r e 3 8
P a i r o f t w o - p i e c e s i l v e r a n k l e t s w i t h
l a r g e c l a s p s E n a m e l l e d i n b l u e
a n d g r e e n w i t h f l o r a l p a t t e r n s Circa 19 0 0
B S M P 9 9 3 3
f i g u r e 3 9
S i l v e r a n k l e t w i t h f i s h m o t i f ( machchhi ka paizeb)
a n d a t t a c h e d b e l l s T h e f i s h
i s a f e r t i l i t y s y m b o l ,
a s f i s h b r e e d p r o l i f i c a l l y .
J a m m u & K a s h m i r
“The richness and variety of ancient and traditional footwear are lavishly illustrated, with outstanding examples of the typical toe-knob sandals worn by mendicants and holy men and the
beautifully embroidered
shoes of the wealthy.”
—The Asian Age
Jutta Jain-Neubauer, born in Austria in 1951, studied Indology and Indian art history in Heidelberg and Bonn (Germany). She holds a Ph.D. in Indian art history with a thesis on “The Stepwells of Gujarat in art-historical perspective” (New Delhi, 1980). From 1978 to 1982 she was involved in a project related to the conservation of ancient monuments in Ahmedabad and other locations in Gujarat. Under a research project sponsored by the Feodor-Lynen programme of the Alexander-vonHumboldt Foundation, she studied the relationship of ancient architectural texts (shilpashastras) with the structural form of temple architecture in Western India. Her books include: The Stepwells of Gujarat in art-historical perspective (New Delhi, 1980), The Ramayana in Pahari Painting (Ahmedabad, 1981), Der Pfau in der Wüste (in German about costumes and textiles of the Thar Desert area, Stuttgart, 1992). She has written articles dealing with subjects such as wall paintings in Gujarat, Pahari miniature painting, woodcarving, narrative picture scrolls, and Indian textiles.
CRAFTS
Feet & Footwear in Indian Culture
Jutta Jain-Neubauer
248 pages, 131 colour and 26 b&w illustrations
9 x 11” (229 x 280 mm), hc
ISBN: 978-81-85822-69-3 (Mapin)
ISBN: 978-1-890206-20-8 (Grantha)
₹2000 | $60 | £39.50
2000 • World rights
Front jacket: Pair of foot-shaped metal padukas. See page 87. Back jacket: Depiction of Vishnupada (footprints of Vishnu). See page 62.
“Hail to that foot of the lusty beloved which hits the head of the lover, that foot which is adorned with red paste and jingling ankets is the banner of love and which is worthy of adoration by inclining one’s head.”
From the 5th century drama, Padataditakam (Hit by the Foot)