Armor Development in the Early
Indian Classical Age
Tracking the Journey of Protective Clothing
What is Armor ?
A safety measure against external threats
How does it works?
- It blunts the impact of the incoming
attack
- It absorbs the energy transferred
through the attack
- It regains its integrity after getting hit
by any weapon.
GREEK LINOTHORAX CUIRASS, by Andrew Yamato
Types of Armor
In the Ancient Indian context, body
armor has been referred to as coat of
mail.
The terminologies vary according to
body coverage and material
- Cuirass (torso protection)
- Tunic style coats (upper and lower
body protection)
GREEK LINOTHORAX CUIRASS, by Andrew Yamato
Textual Mentions
There is a clear mention of Sewn armor in Rigveda
In Mahabharata, chariot warriors and high ranking commanders
like Karna are referred to be clad in mail armor.
In Arthashastra, frequent mentions have been made of armor
made from different materials
Kautilya advises the ordinance heads to supervise the
manufacturing of armor along with fibrous commodities like
ropes, straps and coats (varman)
Superintendent of Weaving is instructed to hire skilled workmen
for the manufacturing of ropes, threads, clothes and coats
(varman)
Armor in Sculptural Imagery
Sanchi
Mallakas defending the fortified city of Kushinagar, 2nd Century CE
Mahakapi Jataka in Sanchi, 1st Century BCE A Mandapa Pillar relief depicting social life, Nagarjunakonda
4th Century CE
Soldiers with Gambeson Armor Combatant with Fabric Band
protection
Gandhara
The religious-didactic narratives of
Gandhara art are replete with
characters clad in leather-fabric
armor.
The style appears to be a mix of
Kushana and Parthian designs.
Attack on Mara, Gandhara,
2nd Century CE, Lahore Museum, Pakistan Guards with Leather-fabric Cuirass and Skirt
The Martial Symbolism
Martial imagery is integral to the conflict
sensitive environment of North Western
Frontiers of the Indian sub-continent.
Many Brahmanical and Buddhist religious
figures were transformed into prominent
gods of war.
Lord Skanda appear to be the first of the
few figures chosen to be militarised.
Skanda from Kushana period, 2nd Century CE
Skanda Slaying Mahishasura, Skanda, Gray Schist, Skanda, Gray Schist,
3rd-4th Century CE 3rd-4th Century CE 2nd-3rd Century CE
Tracing the Influence
The visual similarities between
Zoroastrian,Persian and Gandhara
deities suggest that cultures and artists
have taken inspiration from each other
in creating martial-religious figures.
The appearance of cock or fowl in the
visual imagery of Skanda points to its
similarity with a Persian deity named
Orlagno, who has a bird styled
headgear.
Top - Kushana ruler Kanishka with Orlagno (Verethragna)
Bottom - Tir and Nana From Shahr-i Sabz, Uzbekistan,
7th or early 8th century CE
Image : Relief Painting from
Fondukistan Monastery, Hindukush, 7th
or early 8th century CE
Conclusion
It is apparent that fabric has managed to stay as a key
component of body armor, even after the advent of
metallic modules.
The easy availability of Linen and cotton made it easy
for the early militaries to use them as staple materials
for armor protection. Its ability to resist bacteria growth,
block water absorption and provide comfort made it
excellent as a combat gear.
With the progress of the arms race, more harder and
lightweight materials were required, As leather came to
be an feasible alternative for this purpose, its plastic
properties, along with its stopping potential made it
advantageous against hard impacts.
