Ancient Indian Sentiment Representations with Motifs and Jewellery Motifs

Ancient Indian Sentiment Representations with Motifs and Jewellery Motifs

Introduction

Sentiments are states which are biological, and linked to a person’s nervous system. Sentiments express one’s degree of pleasure, displeasure, and or fulfilment concerning an occurrence (Ramaprasad, 2013). According to Ramaprasad, (2013), sentiments about or towards something may be positive or negative. Besides, sentiments emanate from thoughts and experiences. Basic emotions are related to sentiments in life.

People express emotions verbally or through body language. I.e. raising or lowering the tone, crossing arms, folding or relaxing face muscles, making movements away from the emotion triggering agent, etc. Scherer and Ekman (2014), note that the basic emotions have homogeneity in expression across cultures. People may also use fashion and art that ranges from dressing styles, paintings, colouring, drawings, wording (e.g. poetry) and lighting (e.g. Glowing bulbs in birthdays and wedding parties) to represent their sentiments to the target audience. Animal and floral motifs have been used on jewellery, clothing, engravings on buildings, currency, sculptures, and tools or equipment, since the Achaemenid era, to represent sentiments (Vyas, & Bapat, 2013). This paper will examine the topic, using ancient India as the case.

Rationale Behind this project

The project’s main concept which serves as the topic is “Ancient Indian sentiment representations with motifs & jewellery motifs”. The question for research is “What illustrations were used to represent sentiments in ancient India?” This paper descriptively examines ancient India as regards the Indians way of representing sentiments using floral and animal motifs on Jewellery, clothing or fashion, sporting and physical activities, and architecture. Archaeological digs in the Indus valley serve as the evidence for the passion for artwork amongst ancient Indians (Sameer, & Zhang, 2018). Indian temples have collections of jewellery made from precious stones to adore the Indian gods and goddesses (Thakur, 2018). The animal and floral motifs on the Indian jewellery serve as illustrations to represent the sentiments, meaning that when the precious jewellery is hung or exhibited in the temples, they pass sentiments such us adornment, superiority and sovereignty of the gods and goddesses. Other motifs, for example, plants are planted in the temples’ compound, representing the same sentiments. Ornaments are also gifts to the gods and goddesses for their roles and control of the supernatural occurrences to human existence (Thakur, 2018). This act of gifting the gods and goddesses by ancient Indians represents the sentiment of love towards the Hindu deities.

This paper aims at explaining why the described motifs were used in artwork and fashion. Ancient Indians’ jewellery as described by Jagannathan, (1978), included the sarpech, kada, vanki, nath, oddiyanam, hathphool, paizeb, linga padakka muthu malai, janagam, and karanphool jhumka. Indians traditionally hung ornaments on the ears, noses, wrists, ankles, waist, and arms, head. Cloths had jewellery embroidery and symbols or paintings as well. It is worth noting that colour was essential in representing sentiments, just like motifs in ancient India. Ancient India was endowed with people who were much concerned with the eternity of their culture, superiority in war, boldness in dealing with challenging environments, passion for nature, love, desire to expand and increase in numbers, just to mention a few qualities and aspiration of the ancient Indians (Huntington & Huntington, 2014). All these feelings were represented using art on jewellery.

This paper uses the descriptive-analytic method to elucidate how animal and floral motifs were artistically crafted on jewellery and clothing to represent human sentiments such as love, courage, anger, sovereignty, eternity, abundance, humility, superiority, etc. This approach to the research topic is important, though tiresome, in that the target audience will visually understand and learn the research findings in totality. Further, labelled graphics are incorporated to help the reader better deduce meaning and connect with ancient India. Data has been obtained through library research. Libraries, both online and physical, are very reach with data as regards ancient India and the world. Using library research is an acknowledgement of previous scholarly works. Data obtained is extensive, though secondary.

This project relates to people in terms of their representation of what they feel towards their environments, religions, life occurrences and themselves. Art is attractive and an important tool of expressing the mind, freely, regardless of human characteristics such as age, gender, class, etc. (Newman, & Bloom, 2012). Therefore, this project targets to benefit the audience of all kinds.

Previous Works on this Project

The study of the ancient world has been an area of interest amongst scholars. Buddhism, Hindu and Jainism were the prevalent religions in ancient India (Michon, 2015). The three religions had much similarity and effect to the ancient Indian culture, the biggest similarity being the belief in several deities amongst the group members. Sanskrit was the prevalent language, which was much artistic. Communication was majorly inform of art or symbols (Fischer-Tiné, 2015). Ancient Indians were thus motivated to model, paint, draw, sculpture, and do embroidery to fully communicate and represent feelings. This paper benefits from the literature on the artistic materials excavated in the Indus valley. Literature has been developed about Indian sentiments. According to Martin, Zastoupil, & Moir (1999), notable ancient Indian sentiments included love, superiority, eternal sovereignty, passion, courage, optimism, anger, and fear. Art plays a major role in representing the ancient Indian sentiments.

What illustrations were used to represent sentiments in ancient India?

Animal motifs

            The Elephant Motif. The culture of ancient Asia is famous with elephant domestication and use as a pack animal, as well as used in railway construction sectors for its gigantic strength (Sukumar, 2011). The elephant motif on ornaments and as a painting on clothing represented strength, calmness, visibility, and gentleness. Elephants learn fast, and do not forget, therefore considered wise (Sukumar, 2011). On ancient India ornaments, the elephant motif was nicely engraved. Elephant symbols were used as rangoli as well. These were decorations of paintings or drawings that were made on the ground during events. Rangoli would be made also permanently on buildings, and the floor.

Kaur and Chander, (2015), describe the polo game, played using elephants. The pitch had two goalposts and two teams scoring against each other. Players in either side controlled the ball using flexible mullets, directing towards the opponent’s goalposts, in an attempt to score and win against the opponents. The elephants were highly trained, and in their obedience, they moved the game players as controlled. The game drew joy and fun to the participants and players, and was later adopted and developed in the other parts of the world. The modern-day polo uses horses (Kaur & Chander, 2015).

            Birds; the Peacock, the Garuda (eagle) and the Gandabherunda – The peacock was the Indian landscape’s most common bird, which was revered in India in the ancient Indian mostly for its splendour, hunting ability and its ways of life. Even in modern India, it is the national bird in India (Huntington & Huntington, 2014). Every body part of the peacock had significance to the ancient Indians. Firstly, myths in Hinduism linked the bird’s origin to direct creation from the Garuda’s feather (Kadgaonkar, 1993). The Garuda was a creature in the mythical Hindu that was believed to be the carrier of the Hindu Lord Vishnu, who was the protector of creation. Other Hindu gods and goddesses are associated with the peacock; goddess Sarwast, Lord Krishna, Goddess Kaumari, Lord Indra (Kailasham, 2019). Lord Indra is believed to have directly gifted the peacock with colour for its feathers because the bird shielded the Lord during the war. The Lord Indra in depiction sits on a peacock throne (Kailasham, 2019). These mythical facts about the peacock make any Hindu believer revere the peacock. Just like Lord Krishna, the deity of love, compassion, and tenderness according to Bhattacharyya (2017), ancient Indians wore on their heads peacock feathers. There was also the decoration of clothes, buildings, equipment, and homesteads using peacock feathers. This practice was a representation of love, compassion, tenderness and hope sentiments.

The peacock bird has joy and pride with the onset of the rainy season. To display joy, the peacock opens wide its multi-coloured feathers and makes dance-like motions. The way the peacock feathers open in beauty is interpreted as the cyclic nature of time (Kadgaonkar, 1993). It has always been used to foretell rainy seasons in India. Besides, the bird is multicoloured and effortlessly the most beautiful and glamorous bird in the world (Tadvalkar, 2015). The dark colours of the peacock represent sentiments of sorrow and sadness. On the other hand, bright colours illustrate love, happiness, abundance, and grace. According to Tadvalkar, (2015), feathers from the peacock tail were used to illustrate good luck, and were head decorations on hair or crowns. Indians also placed the peacock feathers in their houses to attract luck, and scare away evil and destruction (Huntington & Huntington, 2014). The peacock nests in abandoned ruins and easily preys on venomous snakes and scorpions. Besides, it yearly renews feathers. These factors make the bird be used to represent sovereignty, power over life, rejuvenation and eternity sentiments (Kadgaonkar, 1993). Whenever the feathers from the peacock were used as head decorations, placed in homesteads, painted as rangori, and worn as a motif on jewellery, ancient Indians felt protected from negative sentiments such as anger, grief, greed and jealousy (Kadgaonkar, 1993).

Ancient Indians, men, women, kings and commoners wore jewellery. Necklaces, bracelets, anklets, crowns, fingerings, and waistbands were the most common jewels of ancient India that could have the peacock crafted on them (Balakrishnan, & Kumar, 2004). The jewels were made of various materials, such as beads, metals and precious stones. Whenever jewellery with the peacock motif was worn, they illustrated love, compassion, and protection sentiments as described above. A peacock rangoli was an ancient Indian art-form which would also be drawn on the floor with sentiment illustration same as for jewels.

            The Gandabherunda is an Indian mythical bird which is two-headed (Tadvalkar, 2015). It is associated with the Hindu deities, especially in their struggles to establish their superiority. The Lord Narasimha, a fierce avatar of the Lord Vishnu, is believed to have incarnated to a Gandabherunda in His victorious war against the Lord Sarabha. The Gandabherunda was carved from ivory or wood, and depicted a two-headed Garuda (eagle). The eagle was believed to be an obedient messenger of the Hindu gods to their targets. According to (Moleón, Sánchez-Zapata, Gil-Sánchez, Ballesteros-Duperón, Barea-Azcón, & Virgós, 2012), the eagle, just like the peacock and the naga (serpent) renews its body after ageing, and has prowess in hunting. Its eyesight is gigantically strong. The garuda meant eternity to the Indians, for its long lifespan. It also symbolized the ability and vision in life activities (Sukumar, 2011). The tail of the Gandabherunda resembles the peacock tail, further reckoning the peacock strength significance in India. The use of ivory to develop the imaginary Gandabherunda also further portrays the significance of the elephant motif to ancient Indians. The Gandabherunda was mostly depicted in artwork holding in its paws and beaks an elephant. Immense power and ability to devour are depicted in such artwork on building, coins, ornaments, clothing and sculptures. Having two heads symbolized sovereignty, and conquering strength. This mythical bird is sculptured in the Hindu temples as a representation of dominion over destructive forces.

            Naga or serpent (Cobra). Serpents in India are explained using myths, where it is believed that serpents are related to the Indian deities. The Buddha is believed to have been protected from rain when he was in meditation for seven days. This makes the serpent revered and used as a representation of the protection sentiment. Brahma, the creator deity, is believed to have relocated the serpent to the underground (Naga-loka). The deity noticed that the serpent had fast procreated and occupied much of the earth. Further, the serpent was directed to be biting those destined to die prematurely or them that did not deserve to live (Tadvalkar, 2015). Serpents are further revered for the beauty and believed to safeguard treasures such as waters.

The serpent is ornamented on precious gemstones. Also, the maniratna, which is the talisman for protection, has serpent shapes and decorations. The ancient Indians also had paintings of the serpents on walls of buildings and homes as their protection. Indians would also sculpture the serpents for the same purpose. (Tadvalkar, 2015). The serpent represents eternity sentiment, because of its ability to discard old skin thus renew. Snakes are very courageous and swift when attacking its prey, therefore used in ancient India to represent sentiments such as courage, swiftness and boldness. All snakes have the potential of violence, therefore represent the male-like sentiments of attacking in the expression of anger. The eagle (Garuda) was a symbol of protection against evil. The garuda was believed to be massive and an obedient messenger, who had prowess in martial prowess. The eagle has skills to counter the serpent’s swiftness and venomous attacks. Therefore, when eagle symbols were neatly crafted on ornaments, and embroidery on clothing represented sentiments such as dangerous when angered, prowess and ability to tackle forces.

            Fish Motif – Fish has been always an importantly inseparable part of people’s lives, used to satiate human nutritional needs (Bagchi & Jha, 2011). Besides, the fish motif is a symbol that was crafted on ancient Indian coins, used as flag insignia in kingdoms, and symbol of people’s fortune in traditional India. Meenaatchi is a Hindu goddess, who is a protector, avatar’s eyes are fish-shaped. This animal was a common symbol in the rangoli and Parsi chalk designs in ancient India. Tadvalkar, (2015), notes that perhaps for its shape, the fish symbolized the yoni (female reproductive system) and fertility. This was perhaps the chief rationale behind decorations of ancient Indian weddings using clothing that had the matsya padma patterns (Tadvalkar, 2015). It was a representation of conjugal love, fertility, and happiness sentiments, and ladies would use it for their silver toe ornament (Tadvalkar, 2015). Besides, the fish symbol was also used to make beautiful ornaments of the Head, Neck, Ears and Nose. The fish symbol is a common sign in most Indian traditional revered texts and one of the symbols in Buddha’s palm that is most auspicious.

            The Horse Motif. The horse in ancient India was associated with royalty. It was mythically believed to be the vehicle for the deities and revered planets, i.e. Jupiter, Venus, sun, and moon (Byghan, 2020). The white horse had a preference among the Indians. It was believed that the white horse had been chosen by the Hindu priests since they had seen it released from heaven to wander freely (Byghan, 2020). Horses in ancient India represented sentiments such as love, royalty, speed and strength sentiments.

The horse symbol was engraved in ornaments. Besides, paintings on cloths comprised of horse images. The rangori was sometimes made using the horse images. Horse racing and polo game using horses were games in ancient India. Horses, just like elephants were decorated by painting, and or placing decorated cloths on their backs, during their use in the various purposes.

            Lions Motif. Most bracelets of ancient India had the head of the lion. Islam, (2018) highlights the important aspects of a lion; the animal is the king of the jungle, protector of its family, and an animal that does not have natural enemies. Islam, (2018), further notes that the lion is the ancient societies’ symbol and representation of pride, royalty, protection and peace sentiments because of the elucidated lion aspects. Lions were used as figures and motifs on royal architectures, crowns and tools or equipment of authority. Even to date, most currencies have the lion image engraved on coins, and printed on notes. In ancient south India, the lion-faced jewellery, the Kirtimukha, was very popular. The lion motif on the kirtimukha was representing strength, courage and sovereignty sentiments (Sukumar, 2011). The kanjivaram sari, was an Indian bridal clothe that was decorated with the lion symbol, representing courage to take tackle marriage (Sukumar, 2011). Sometimes, ancient Indian clothes would be painted with the colour of the lion and its Indian plain and grassy habitat to represent the same sentiment.

Plant Motifs

The Kamal (lotus) Motif. The lotus motif is the most used of all the plant motifs used in ancient India to represent sentiments. The lotus is a floral symbol, depicted from the petals of the flowers of the perennial aquatic sacred lotus plant (Nelumbo nucifera). The petals of the sacred lotus’ flower are vibrantly conspicuous (attractive pink) and scented. The lotus motif represented ability, joy, happiness and abundance sentiments (depending on the part of the plant used) for the wearers of the jewellery and clothing with the lotus motif symbol (Sukumar, 2011). The lotus floral motif is common as a representation of joy, happiness and beauty sentiments.

According to Sukumar (2011), most jewellery was cast in the lotus floral shape, while for other jewellery, the lotus symbol was engraved on them or drawn. Many Indians had the lotus tattoo. Sukumar (2011) continues to elucidate that the lotus motif was an important symbol used to decorate clothing by drawing or painting the plant’s flower or other parts of the lotus plant on cloths. In the gestured Indian dances and yoga, the lotus symbol is always very common. The rationale behind its wide preference amongst the ancient Indians is the plant’s uniqueness, being glamorous in colour and being widespread in India (Siddiqui, 2012). The lotus ponds drop a colossal number of seeds (Hundreds of thousands) in their habitat annually. The lotus’ seeds and petals are edible, and the seeds can stay up to 1300 years dormant, and still germinate under requisite conditions! (Szczyglowski & Stougaard, 2008). This portrays the plant’s fertility and importance.

According to Siddiqui (2012), the Kamal plant produces an incredibly beautiful flower. He adds that the lotus is the national flower of India and that the lotus had numerous symbolic meanings and religious significance to Buddhists and Hindus in ancient India. In Buddhism’s sacred text, the Tripitaka, the lotus is important, in that the human heart in the Tripitaka is likened to an unopened lotus. When the Buddha virtues (purity in mind, body and utterance) enter the heart and develop, the heart blossoms like the lotus. The lotus plant, because of its characteristics to thrive from mucky mud and produce flowers that conspicuously blossom in multi-shapes and glamorous colours, had women fertility, wealth and bestowing life attributed to it (Greatness from the humble beginning). Further, ancient Indians used the lotus motif to symbolize the female generative organs (Siddiqui, 2012). According to Siddiqui (2012), several myths are associated with the lotus plant. The common myth is that the lotus flower originated from the Indian deities and that the first fire was lit on the lotus leaf by the Atharvan deity. Housing or offering to the deities the petals of the Kamal lotus – existed in multi-shapes, and mainly red or white – was believed to invoke knowledge and understanding of the dynamic cosmic forces.  Most arts in India take this plant’s floral design as a tribute to it. The floral design is seen on ancient Indian jewellery, decorative embroidery on cloths, paintings on clothing and architecture, rangoli on floors, etc. (Siddiqui, 2012). Ancient coins such as the yadawa and those of the guptas also had the 8-petaled lotus crafted on them.

            The Bilva motif. Ancient Indians just like any human being valued feeling safe. This sentiment amongst the ancient Indians was mainly represented when they wore jewellery with an amulet on various body parts with the Bilva motif. The amulet in ancient India would be cast in the shape of the Bilva’s fruit or leaf. Ancient Indians made rangoli on the ground and walls from the plant and painted clothing with the various parts of the tree. Dwivedi (2012), describes the Bilva as a plant native in ancient India. The tree’s roots, bark, leaves, flowers and fruits had medicinal value. The Bilva tree had religious reverence by Buddhism and Hinduism, as it was believed that gods and goddesses had an attachment to the tree. The tree was thus common in Indian homes and temples (Dwivedi, 2012). Perhaps those were the reasons as to why the plant had protection attached to it by ancient Indians.

            The Tulsi plant motif. The Tulsi Vrindavan was a plant revered by the Hindu and Buddhism religions and associated with gods and goddesses. Dwivedi (2012), postulates that just like the Bilva plant, the Tulsi had the protective sentiment attached to it. The Tulsi leaves had medicinal values and were used to preserve water. The Indians planted the Tulsi plant in their dwellings to attach themselves with safety. Besides, cloths had the plant painted the plant, while in some cloths, the Tulsi plant would be drawn (Dwivedi, 2012). The Jamapala was a prayer bead with the Tulsi motif, which was carried around by ancient Indians for religious reasons, and to feel safe.

Dressing and Style as an Illustration in Ancient India Sentiment Representation.

Apart from jewellery, sentiments in ancient India were represented to a large extent using the type of clothes worn and the colouring, painting, embroidery, and drawings on clothes. There were male and female clothes that were worn depending on the purpose, occasion, and activity being performed. Cotton was first grown in India, hence the oldest Indian clothes were made of cotton (Raifa & Joy, 2019). Cotton blossoms are conspicuous in colour, therefore cloths made from cotton automatically came representing positive sentiments, and were ready to be used to represent positive sentiments (love, happiness, joy, and appreciation among others) without any dying. The early clothes in India comprised of open unstitched clothing that was wrapped around one’s body, and properly fastened so that it hides the body’s nakedness without falling off. The Indians’ cloth or robe was fashioned from a rectangular cloth, previously dyed using an array of colours. Colour and animal or plant motif paintings on clothes was essential in representing sentiments; vibrant colours such as red, orange, pink, and green represented joy, happiness, love, hope, and optimism, while dark colours represented sorrow, sadness, loneliness, despair, etc. (Raifa & Joy, 2019). The higher class Indians wore a robe that was long, over their left shoulder to portray opulence. The fibre used to make clothes in ancient India included cotton, wool, leather, linen, and silk, all prepared by craftsmen. The jersey fabric was introduced in India through Muslim invasion (Raifa & Joy, 2019).

Jewellery was common to both men and women (Raifa & Joy, 2019). The ancient Indians’ ornaments were made from wood, beads, gold, bronze, silver and precious stones. Both men and women did their hair for fashion. According to Roy (1978), dying of hair using vibrant colours was common, to represent beauty, attractiveness and style sentiments. In ancient India, dye for use on clothes or decorating buildings and human bodies were obtained from plants and animals. Plants such as kala (produced indigo) and madder (produced deep purple) among others were used since they were prevalent in India. Ancient colours from dyes included indigo, purple, gairika (red-ochre) and rocan (a yellow colour that was obtained from a cow’s urine) (Roy, 1978). The ancient Indians’ hair was dyed depending on the purpose, occasion, and activity being performed. For instance, hair colour had to match the costume, say in a dance.

Ancient Indian clothes were wrapped around the body. The males wore the dhoti. Raifa and Joy (2019), describe the dhoti as a long costume that was wrapped from the waist and tied with a knot at the back. It outwardly resembled trousers and came in solid or plain colours. Males also wore turbans, conical and pakol hats, and man-buns on their heads. The pagari was a head turban that had to be manually tied (Raifa & Joy, 2019). Males’ hairstyles included trimming or shaving the beards, weaving into buns the hair on the head, and coiling the hair at the head top. The female wear, the sari, was wrapped around the waist. It would be moved over the right shoulder and below the arm, such that it still covered the stomach and the breasts. Before the saris were invented, women wore short skirts. Ancient Indian women also wore headdresses and linen tops. Saris were hectic to work with or do activities such as physical activity. Therefore, women would tack the saris at the back, or pull it up between the legs to allow them to work or fight. Raifa and Joy (2019), postulate that younger women wore saris that were vibrantly coloured to portray sentiments such as ambition, happiness and anticipation to achieve, just hope. In contrast, women who were widowed or in a mourning period wore white saris to illustrate sorrow and loneliness sentiments. Women at times walked topless due to weather conditions or inability of the sari to fit them sufficiently, until the introduction of the Salwar Kameez in the Mughal era (Raifa & Joy, 2019). This garment comprised of trousers and tunic-like tops. It was conspicuously coloured, just the woman’s taste, and to represent positive sentiments.

Cloth stitching and embroidery began in India when steel needles, the knitting skill, and the embroidery skill were introduced to India from China (Raifa & Joy, 2019). Craftsmen began making dyes from plant juice and animals to dye cloths. Dressing style also changed from wrapped robes to nicely body-fitting stitched clothes (Raifa & Joy, 2019). Iranian tunics and long pants were introduced by the Muslims invasion to India to beef up the saris and the dhoti. The Indians called the tunic Kurti and used silk fabric to make it upon its adoption into their dressing cultures. Indian ware was heavily decorated with both animal and plant motifs through embroidery, paintings and drawings.

The Iranian tunic is a type of clothing that has experienced immense modification. During its invention and introduction to India, the tunic was a short garment, which was a top worn between the shoulders and the waist for fashion and to prevent cold (Cole & Deihl, 2015). The tunic was first lengthened to the knees, then to the ankles as fashion in India, then called the kurta (Cole & Deihl, 2015). Besides, embroidery, elegant painting and decoration with animal and plant motifs unique to ancient India was performed on the garment. In the 19th century, the tunic got the name jacket from the French. In the 20th century, the jacket was modified to bomber and leather jackets fashions, for more shielding of the body (Cole & Deihl, 2015). The jackets are mostly linked to warfare since they were mended during World War 1. The Indian bomber jacket has elegant embroidery.

Footwear in ancient India was simple and worn by both male and female genders. It was called the Paduka. The footwear was sandal-like and was made of wood, ivory, or silver. It was crafted in the shape of a human foot or fish (Raifa & Joy, 2019). The Paduka’s material and design signified the wealth status of the wearer. In terms of representing sentiments, the Paduka would be in bright colours, revealing joy, love and happiness. The fish motif for the shape, and using ivory (elephant motif), was sentiment representation for courage, humility, abundance, and optimism (Sukumar, 2011).

Ancient Indians had an immense passion for indoor activities, outdoor sports and physical activities (yoga). Kaur and Chander (2015), elucidates that the motives behind sporting and physical activities were to be defensive, develop physique and develop the skill of offence. Sports in ancient India included judo and karate, swimming, athletics, dancing, Ashtapada (chess), hunting, boxing, cards, badminton, kabaddi, kho-kho, snakes and ladders, ludo, and polo (Kaur & Chander, R. 2015). The costume was part and parcel of any sporting event. In sports, sentiments were still represented by animal and plant motifs. Sukumar (2011), elucidates how sentiment representation was done during sporting in the arena. Firstly, Animals such as horses and elephants were directly used, for example in the polo game. Secondly, vibrantly coloured costumes were used to represent joy and happiness sentiments in the games. Thirdly, the games had joyful spectators, equally in conspicuous colours to portray support and love sentiments for the game played. Fourthly, brightly coloured cloths were laid on the bodies of the animals involved in a game. Animals in the game were also painted in bright colours.  Fifthly, participants coloured various body parts, especially during dancing. Lastly, the Ashtapada board, the playing cards, and the discus and javelin spears had multiple animal and plant motifs.

Conclusion

Sentiments are important, part and parcel of human life. Whether positive or negative, they must be communicated so that one can feel free. Sentiments are best represented in illustrations or fashions since they live long to tell the culture of a past generation. The artwork is a tool for representing human sentiments.

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