Research Paper Soldiers and their Uniforms in Indian Art with special reference to the Punjab Paper ID IJIFR/ V2/ E1/ 042 Page No 155-161 Subject Area Art History And Visual Arts Key Words Indian Art, Uniforms, Civilization, Discipline Sikhs, Soldiers, British Period, European Model Manpreet Kaur Research Scholar, Department of Art History And Visual Arts Punjab University, Chandigarh Abstract The history of the world revolves around conquests and defeats. Some came as a group of barbaric hordes while others settled down due to reasons which fulfilled their requisites. But these invasions and expansions were not a result of a one man army. It heeded the support of a full-fledged force. Just as these foreigners came and settled in with their expansionist motives they brought with them, their culture and way of living, which, with merger with the native vogue was destined to influence the pre-existing ways of living. As we talk about their impact on the arts of a society and culture as rich as that of India, one of the major impact was on their vestment. And whilst the imprint can be seen on the way of garbing of men and women in the society, it can be seen in the soldiers and their uniforms too. In my research paper, I aim to present a brief historical review on the depiction of soldiers and their uniforms in Indian Art by citing a few examples from sources and how changes have been brought about by various external influences with special reference to the soldiers and their uniforms during the Sikh and the British period. 1 Introduction The importance of an army for a king has been depicted in art and that too dating from some of the oldest civilizations of the world. The Egyptian civilization and art, dating from around 3000 B.C. onwards, has fascinated archaeologists and artists across the globe. The Egyptians are known for their belief in the afterlife and apart from having built some of the most bewitching tombs of the Pharaohs they furnished them with all the requirements of daily life of the king and also what he would need in the journey in the afterlife. Underlining the importance of the army the pharaoh is shown accompanied by his soldiers who move behind him dressed in the same style, for example, at the tomb of Mesehti at Asyut. Likewise, in the Terracotta Army (fig. 1), which is a collection of about 8000 soldiers, in the mausoleum of the first emperor of China Qin Shi Huang, one can observe the worth of the soldiers for the king who deemed them essential in his afterlife as the mausoleum was built under the supervision of the emperor himself. Here too all the men of his army are shown clad in similar costumes thus reiterating the point that soldiers have always played an essential role in the life of their king and that depicting them in appropriate uniforms has seemingly been in vogue since the earliest times. www.ijifr.com Copyright IJIFR 2014 155
Figure.1:Terracotta Army, 211-206 B.C., Qin Dynasty, China. 2 Soldiers Uniform & Civilization The Indic civilization is numbered among the oldest civilizations of the world and here too one comes across various depictions of soldiers in their uniforms. The dynasties that have ruled India had military uniforms that though keeping the regional and climatic influences in mind also accounted for influences from both internal and external sources. For instance among the Kushanas, a Central Asian tribe that came to India in the first century A.D., a soldier s uniform consisted of a coat, trousers, a peaked cap and high boots which were the principal components of the Kushana military costume. The quilted coat provided protection from the weather as well as an arrow or spear thrust while the trousers were convenient for horse riding. A waistband completed this costume of a soldier who is mostly shown holding a mace or a spear. For example, there are many copper coins dating back to the time of the Kushana King Vima Kadphises (90-100 CE) where he is shown wearing a military dress, a cylindrical hat, long tunic, high boots while holding a mace in his right hand as his left hand rests on his waist (fig. 2). Figure 2: Vima Kad Phises, 90-100 CE, Kushana Dynasty 156
While his body is shown in a frontal pose his face is shown in side profile. Acknowledged as the king of the kings from his attire one can make out that this military ensemble was meant for the battlefield. In the architrave relief The war of relics from Sanchi (1st Cent. BC) one can visualize the ongoing battle between the armies where the cavalry, the archers, infantry and the kings have been shown in their uniforms in which two things are common to the armies - the headgear and the dhoti like garment reaching up to their knees. In addition to this the entire infantry has been shown barefoot pointing towards the fact that shoes or sandals were worn by the kings and the army officers and is said to have been a Hellenistic importation. During the Gupta period (4th-6th Century A.D.) soldiers are shown wearing a dhoti as the lower garment and a blouse above it (fig. 3). Figure 3:The Gupta Military Costume Courtesy: Maharaja Ranjit Singh War Museum, Ludhiana, Punjab A metal helmet, a smartly cut semi-tailed coat, well-fitting breeches and high boots were also part of the soldier s attire during this period. This new dress style, introduced in India by the Scytho- Kushanas, was adopted by the Guptas for its usefulness in war. The soldiers carried a bow, a sword, a spear and a round shield in to war. The bow was made of medium length and had a double curve. In the medieval period the Mughals maintained a large army commensurate with the size of the empire. Babur, who laid the foundation of the empire, introduced the use of canons in war for the first time in the subcontinent. The uniform of a Mughal soldier comprised of a quilted coat, turban, trousers and shoes. The lapels of the coat were tied with a knot on the right side and a waistband was worn over the coat. The bow and arrow, sword and the shield were among the most common weapons. But the most remarkable weapon introduced by the Mughals for the infantry was the Bandook (gun). Sikhism, founded by Guru Nanak Dev the first guru of the Sikhs, is known for its belief in one God and in the equality of all irrespective of caste, colour, creed or sex. This religion came as a sigh of relief for a people who began to adopt the new faith founded on the principles of tolerance and humaneness. It was with the martyrdom of the fifth Guru Arjan Dev that Sikhism took a new turn. His son and successor the sixth guru Guru Hargobind decided to arm his followers against Mughal persecution and equipped himself with two swords - miri, symbolizing temporal power and piri, symbolic of spiritual power. The sword was thus to become a part of the Sikh vestment in the years to come. Shaster Vidya (weapon knowledge or science) was the essential military training for the Sikh 157
warrior- the Akali Nihang Singh Khalsa The present day Nihangs trace their origin to the first guru of the Sikhs, Guru Nanak himself, who according to their oral traditions was summoned to the divine court of God where, alongside receiving the holy Gurmantra, Vah Guru, also received the Shaster Vidya. He is thus said to have passed on his knowledge to his faithful Sikh Baba Budha and told him that he would claim this knowledge in his sixth incarnation. Baba Budha imparted the knowledge of weapons to Guru Hargobind at a very early age. Hence the Akali Army or the Akal Sena was also known as the Budha Dal. With successive gurus after Guru Hargobind the Akal Sena maintained in its original form until the time of the tenth guru. Guru Gobind Singh, the tenth guru organized the Sikhs into a martial race. He actualized the first uniform of the Sikhs in the embodiment of Khalsa or, The Pure. Kes (hair), Kangha (comb), Kada (an iron bangle), Kachchha (short pants up to the knees) and Kirpan (sword) were declared as major components of their identity and uniform, and four out of these five constituents had military importance. Keeping long hair benefitted against the blow of a sword, the iron bangle too helped in combating the attack of daggers or could be used to hit the enemy on the face, the short pants were helpful and easy while riding horses and the sword was an evident weapon for attack and defense. Before the creation of the Khalsa in 1699 the Guru altered the structure of the Akal Sena with the effect that only a high ranking warrior was to be known as an Akali while a low ranking soldier was designated a Nihang (the fearless). The Nihang s job was to protect the Gurdwaras and to remain upfront in the battlefield. They are still seen wearing blue turbans called dumala above the multiple layers of which are set quoits and khandas of different sizes (fig. 4), iron bangles (kada), their robes reach down to their knees and are tied at the waist with a waistband and among the weapons which they normally carry with them are daggers, knives and swords of varying sizes. They are celebrated for their martial skills. Figure 4: Akali Sikh Warrior wearing a distinctive Akali Turban Photography by G Western, about 1860 Albumen print, V&A Museum The nihangs from all around the world gather at Anandpur Sahib, the birthplace of the Khalsa, to celebrate the festival of hola mohalla in the month of March every year where they display their martial skills.the Akali or the Nihang has been represented in art many times no doubt owing to the military ensemble they support. An amateur artist fascinated by their appearance was Emily Eden, sister of the Governor General of India George Eden, Lord Auckland, who came to India in 1836. In her journal Up the Country, Eden refers to the Akalis stating that they were Sikh religious devotees, 158
being very wild in appearance and turbulent characters. They formerly were largely employed in the Sikh Armies and were often remarkable for acts of desperate courage, but their license renders them formidable to any regular government and Runjeet Singh gradually reduced their numbers, and broke their power by distributing them in small companies among his disciplined battalion; their blue dresses, their high peaked turbans, the rings of steel, which they wear as the peculiar emblems of their devotion to the first great military leader of the Sikhs, Guru Gobind Singh, and the profusion and variety of their arms make them very picturesque objects. Figure 5: Akalees or Immortals, Emily Eden, ca 1844, coloured lithograph, Private collection. In her work Portraits of the Princes and People of India (1844) she has made numerous sketches of Sikh warriors and soldiers. In her painting Akalees or Immortals (fig. 5) are depicted three Akalis set against a rocky landscape, two of them standing erect and one seated on the ground with folded legs. All three of them can be seen dressed in their uniforms, the blue knee length robe, peaked turbans, holding weapons including guns. In yet another water colour painting from the Company School titled A group of Akali Soldiers by an unknown artist, made in Punjab around 1860, one can see an Akali Sikh mounted on a brown stallion accompanied by three other Nihangs, all of them are facing left and are dressed in their formal uniforms, the blue dumala decorated with quoits and khanda s of varying sizes, a robe reaching up to their knees and tied at the waist with the help of a waistband on which are hung swords and daggers of differing sizes. They all wear pointed shoes and support a beard and moustache (fig. 6). Figure 6. A group of Akali Sikhs, unknown artist, about 1860, Water colour on paper, Company Painting. 159
3 Maharaja Ranjit Singh The Military Genius & Impression of European Soldiers Maharaja Ranjit Singh the Sikh ruler of Punjab known for his military genius had been greatly impressed by the discipline of the European soldiers and decided to train and equip his army on the European model. Ranjit Singh known to never discriminate among his subjects exemplified by the fact that his ministers were Muslims, Sikhs and Hindus extended this to the constitution of his army as well. Thus, the army he raised, the Fauj-i-Khas, comprised of men belonging to different religious denominations and sections of the society - his artillery mainly consisted of Muslims, his cavalry was composed of Sikhs and the infantry comprised of Dogras, Gurkhas, Sikhs and Muslims. To train his army on European lines in 1822 he hired Jean-Francois Allard and Jean-Baptise Ventura, the first of a number of ex-french army officers whom he engaged to train his troops. Ranjit Singh s French advisers began training the infantry and the cavalry and by the 1840 s, the Fauj-i-Khas constituted of as many as 71000 men comprising of infantry, cavalry and artillery. With the training of the soldiers along the European guideline, the uniforms of the soldiers underwent a change too. The soldiers of the Sikh army were attired in scarlet jackets which were close fitting coats with short tails with trousers made of white or blue linen with loose stitching, depending upon the weather (fig. 7). Figure 7: Sikh Soldiers, probably by Imam Baksh, 1840, Water colour on European paper. The gunners wore braided blue jackets and striped trousers. A pair of black leather cross belts was worn over the jackets. They wore yellow turbans and were against wearing a shako and even before they enlisted themselves as a sepoys in the army they made an agreement which stated that they shall neither be forced to shave their hair nor to wear a cap under any circumstances and all Sikhs wore a full beard. A musket with a bayonet was the main weapon of the soldier. A horn for keeping gunpowder and a sword were carried on the belt. A bag (toshdan) was also carried for keeping food. Indeed, Emily Eden was so impressed by the dressing sense of the Maharajas and the warriors of Punjab that she states thousands of Runjeet s followers, all dressed in gold and silver tissues, all of them sparkling with jewels. I never saw so dazzling a sight. Three or four Sikhs would look like 160
Astley s (circus) broke loose, but this immense body of them saves their splendor from being melodramatic. Sikh soldiers have always been identified with great martial caliber as a result of which many of them were recruited in the British army. Lieutenant Harry Lumsden was asked to form the first unit in the Punjab known as the Guides in December 1846. This force later came to be known as the Punjab Frontier Force which was nicknamed as the Piffers. One of the highlights of this integration can be seen in the Sikh military uniform. The traditional scarlet of the British Army was replaced by a dustcoloured cloth, known as Khakhi, highlighted by a native Sikh turban. Above all, the British attention to the rank or hierarchy was influential in contouring the military uniform of which the display of ornate social status was a by-product. 4 Conclusion From the above account it emerges that uniforms have been an integral part of a country or a civilization in a broader sense, be it a simple loose lower garment (dhoti) held up with the help of a girdle or some of the most extravagant ensembles of present day military figures. Even the art of various civilizations has immortalized its soldiers and their uniforms. Although there might have been various influences from within and outside the country impacting the military attire but uniforms have always succeeded in bringing homogeneousness to the military force of a nation or state and in infusing within them a sensibility of oneness and responsibility. References [1] Caforio, Guiseppe, Advances in the Military Sociology: Essays in Honor of Charles C. Moscos, Part B, Emerald Group Publishing Limited, United Kingdom, 2009, p. 388. [2] Emily Eden mentions about the attire of the Sikh Soldiers in the Journal Up The Country which is a journey from Calcutta to Simla. [3] Fabri, Charles, Costumes, India, Issued on behalf of Department of Tourism Ministry of Transport by Govt. of India, Published by the Director, Publications Division, Ministry of Information and Broadcasting, January, 1965. [4] Ian, Knight, The Military Sikhs in The Arts of the Sikh Kingdoms by Susan Stronge (ed.) V&A Publications, New Delhi, 1999. [5] Man, John, The Terracotta Army: China s first Emperor and the birth of a Nation, Bantam Press, Great Britain, 2007. [6] Schofield, Victoria, Afghan Frontier: At the crossroads of conflict, Tauris Parke Paperbacks, New York, 2010 (Revised Edition). [7] Singh, Khushwant, The Sikhs of The Punjab in The Arts of the Sikh Kingdoms by Susan Stronge (ed.), V&A Publications, New Delhi, 1999. [8] Singh, Nidar, An Introduction to Shaster Vidya-The Education of a Sikh Warrior, a lecture by Nidar Singh as a part of the Sikh Arts and Heritage lecture series at V&A, 10 October-2001, url:www.vam.ac.uk/content/articles/m/military-sikhs/, viewed on 18.3.2014 at 7:00 pm. [9] Thapliyal, Uma Prasad, Military Costumes of India from the Earliest Times, Published by Military of Defense, Govt. of India, 1991. [10] Tooley, Angela M.J., Egyptian Models and Scenes, Shire Publications Limited, UK, 1995. 161