Hair in ancient India was never just cosmetic\u2014<\/strong><\/em> When I explore Indian temple sculptures, one detail consistently captures my attention: the hair. From the cascading locks of apsaras to the tightly bound topknots of ascetics, these hairstyles weren\u2019t decorative accidents. They formed part of Kesh-Vinyas, a sophisticated system of hair arrangement that communicated social position, spiritual practice, and cultural values.<\/p>\n In this guide, I\u2019m sharing findings from my temple fieldwork across India, featuring original photographs from Hampi<\/a> and other heritage sites\u2014images you won\u2019t see on generic stock platforms. These stone carvings preserve intricate braids, coiled buns, and structured curls that functioned as visual codes in ancient society.<\/p>\n \u2014 Indrani Ghose, travel blogger | Updated Nov 2025<\/em><\/p>\n Understanding these traditional Indian hair designs reveals how communities used hairstyles in religious ceremonies, classical dance, and everyday life. The carved evidence shows us a world where your hair announced your role\u2014whether priest, performer, warrior, or royal.<\/p>\n This post decodes the meaning behind these ancient styles.<\/p>\n Ancient Indian Hairstyles by Indrani Ghose<\/p>\n<\/div>\n In ancient India, hair signaled community, belief, and life stage. Sculptures and texts show how societies used hairstyles as a language of identity.<\/p>\n The Shikha\u2014a single tuft preserved at the crown\u2014was mandatory for Vedic students and priests. This style served a practical spiritual purpose: focusing energy during meditation and rituals.<\/p>\n Meanwhile, completely loose, uncombed hair typically indicated mourning, renunciation, or chaos. Neatly arranged hair communicated order, self-discipline, and ritual purity.<\/p>\n Men with hairstyles \u2013 Jatamukuta<\/p>\n<\/div>\n The Natya Shastra, India\u2019s foundational performing arts text, established specific hair requirements for different character types.<\/p>\n Each time I closely examined the hairstyle in the ancient sculptures I could easily identify roles.<\/p>\n Hair marked major life events, some can be seen in today\u2019s lifestyles too.<\/p>\n These weren\u2019t arbitrary customs\u2014they were cultural grammar everyone understood. Temple carvings from Hampi, Khajuraho, and other sites preserve this coded system in stone, showing us exactly how these styles looked and who wore them.<\/p>\n Huge smooth bun \u2013 sculpture in Hampi<\/p>\n<\/div>\n Early cities already used hair for meaning.<\/p>\n This proves that hair styling was both intentional and symbolic, not just practical.<\/p>\n Bronze dancing girl (back view) By Ernest John Henry Mackay (5 July 1880 \u2013 2 October 1943) \u2013 Early Indus civilizationPublished in 1935, Public Domain, https:\/\/commons.wikimedia.org\/w\/index.php?curid=113435757<\/p>\n<\/div>\n Hairstyles became more complex in the Mauryan era<\/strong><\/a>.<\/p>\n The Didarganj Yakshi<\/strong> shows thick, ornamented braids<\/strong> created with technical skill.<\/p>\n The Arthashastra<\/strong> records grooming rules for people serving in royal courts. Hair care and arrangement were tied to conduct, service, and authority<\/strong>.<\/p>\n Carvings at Sanchi<\/a> show women in layered plaits<\/strong> and men in topknots<\/strong>. Jewelry and flowers were added to indicate status, devotion, and prosperity<\/strong>.<\/p>\n Notice the jasmine string adornment, Photograph from the temples of Hampi<\/p>\n<\/div>\n Gupta sculptures show hair in highly structured curls and plait patterns<\/strong>. Texts use specific terms:<\/p>\n Pearl strands, flowers, and jeweled pins were part of the design. This was a visual code for refinement, divinity, and high rank<\/strong>. The same style appears on dancers, royalty, and deities<\/strong>, showing its cultural importance.<\/p>\n Bhramaka Spiral Curls \u2013 Khajuraho<\/p>\n<\/div>\n Woman with very long hair from Hampi in Karnataka. Notice the monkey in the corner pulling her hair.<\/p>\n<\/div>\n The Dhammilla represents one of the most ornate styles in ancient Indian hair traditions. This complex bun arrangement sat high on the head, secured with decorative pins and laden with flowers, pearls, and precious ornaments.<\/p>\n Temple sculptures at Hampi and Amaravati preserve stunning examples of this style on queens, celestial dancers, and noblewomen.<\/p>\n I\u2019ve documented the Dhammilla extensively in South Indian temple carvings. The style communicated both wealth and devotion. This wasn\u2019t casual styling; creating a proper Dhammilla required skill, time, and resources.<\/p>\n Among traditional Indian hairstyles, the Dhammilla functioned as a visual announcement of status and ceremonial participation.<\/p>\n The Sikhanda was a smooth, egg-shaped knot positioned at the crown, worn primarily by ascetics, sages, and deities. When examining sculptures of Vishnu or Buddhist monks, you\u2019ll consistently find this disciplined style.<\/p>\n The Sikhanda served a functional purpose\u2014keeping hair completely controlled during meditation and ritual practice. This ancient Indian hairstyle carried zero ornamentation, making it instantly recognizable as a marker of spiritual focus rather than social display.<\/p>\n You can see in the sculpted bas relief <\/a>in Mahabalipuram. The style symbolized mental concentration, self-discipline, and detachment from worldly concerns. In the vocabulary of Kesh-Vinyas, the Sikhanda communicated purity and dedicated practice.<\/p>\n The Praveni was the classic single braid that extended down the back, sometimes reaching the waist or beyond. Sculptures of yakshis, apsaras, and noblewomen showcase this style embellished with gold strips, jeweled bands, and woven flowers. I\u2019ve photographed remarkable examples at Belur and Halebidu.<\/p>\n This hairstyle carried strong associations with femininity, prosperity, and marital status in ancient India. The technical skill required for such precise braiding shows how central this style was to ancient Indian coiffure traditions.<\/p>\n Among all traditional hair designs, the Praveni remains one of the most immediately recognizable and culturally significant.<\/p>\n Praveni was the classic single braid<\/p>\n<\/div>\n This statue is completely dabbed with sandalwood paste. The hairstyle is completely camouflaged yet the outlines show some interesting pattern.<\/p>\n The Jatamukuta stands apart from decorative hairstyles\u2014this was matted hair piled high into a crown-like structure, most iconically associated with Lord Shiva and with ascetics and yogis. Temple sculptures at Ellora and Badami show Shiva wearing the Jatamukuta, often decorated with the crescent moon, sacred Ganga, or serpent ornaments.<\/p>\n This ancient Indian hairstyle symbolized renunciation, cosmic power, and spiritual intensity. Unlike the groomed precision of the Dhammilla or Praveni, the Jatamukuta was deliberately untamed. The style is one of the most spiritually charged hairstyles in Indian iconography.<\/p>\n Hairstyles in Ancient Indian Sculptures from museum in Hampi<\/p>\n<\/div>\n Hairstyles in Ancient Indian Sculptures from Pattadakal. <\/span>The figure below is one close shot of another hairstyle.<\/p>\n Notice the strands of hair in the bun. This is from Pattadakal in Karnataka.<\/p>\n<\/div>\n In the image above, the sculptor has depicted the male figure supporting the fancy hairstyle while whispering sweet nothings as the female figure rests her hand on his shoulder. In the figure below the male is seen supporting some kind of head gear. The woman has an elegant hair bun. There is a parting in the center and some kind of jewel in the hair bun.<\/p>\n The parting in hair and the bun adorned with jewels and flowers<\/p>\n<\/div>\n Pattadakal<\/a> has some fantastic sculpted images of women with elaborate hairstyles.<\/p>\n From Gopurams of Srirangam<\/a> \u2013 <\/span>Srirangam has 21 gopurams (gates). Some of them are elaborately carved. This image is from west gopuram in the 3rd\u00a0 layer from outside.<\/p>\n Hair neatly pulled up into neat bun, adorned and individual strands visible<\/p>\n<\/div>\n When I visited the Srirangam Gopuram in Tiruchirapalli, Tamil Nadu, I was struck by the female sculptures. In this photo I took (above), you can actually see the individual strands of stone carved into a Dhammilla bun. The craftsmanship is unlike anything I\u2019ve seen in northern India<\/p>\n Across India\u2019s temple architecture, hairstyles were carved with astonishing detail, turning stone into living fashion. These sculptures are not just decorative\u2014they are cultural records of how people styled their hair in different dynasties.<\/p>\n My own photographs from Chola, Hoysala, Khajuraho<\/a> and Halebidu sites reveal how regional artistry shaped the story of Ancient India Hairstyles<\/em>.<\/p>\n The Great Living Chola Temples of Tamil Nadu, particularly Brihadeeswarar at Thanjavur<\/a>, display hairstyles that emphasize monumentality and divine power.<\/p>\n Female figures wear high, elaborate buns piled with architectural precision and secured with jeweled bands. These elevated styles, often crowned with carved flowers, communicated prosperity and religious devotion.<\/p>\n Male deities and warrior figures appear with structured topknots that signal discipline and authority. The heavy ornamentation carved into these coiffures\u2014every jewel, every securing pin rendered in stone\u2014reflects the Chola dynasty\u2019s emphasis on displaying wealth and cosmic order.<\/p>\n Standing before these 1,000-year-old sculptures, the connection between hairstyle and status becomes immediately clear.<\/p>\n Picture below taken in Someshwar Temple Kolar<\/a>.<\/p>\n Male figures with structured top knot hairstyle<\/p>\n<\/div>\n The Hoysala temples of Karnataka represent the pinnacle of detailed hair carving in Indian architecture. At Belur and Halebidu, I\u2019ve documented celestial dancers and apsaras with braids so precisely rendered that individual strands remain visible in stone.<\/p>\n These aren\u2019t simple plaits\u2014they\u2019re multi-layered constructions decorated with carved flowers, beads, and gold-like ornamental strips.<\/p>\n Hoysala sculptors captured texture, movement, and ornamental placement with technical accuracy that turns each figure into a hairstyling tutorial carved in soapstone. For researchers studying traditional Indian hair designs, these temples provide unmatched detail.<\/p>\n Ancient Indian Hairstyles<\/p>\n<\/div>\n Central and eastern Indian temples like Khajuraho and Konark\u2019s Sun Temple preserve a different aesthetic\u2014one focused on approachable, everyday beauty rather than ceremonial grandeur. The Nayikas (romantic heroines) carved here wear loose side braids, casual curls, and relaxed topknots that suggest daily life rather than ritual occasions.<\/p>\n These Chandela and Kalinga dynasty sculptures capture women preparing for dance, romantic encounters, or leisure activities. The hairstyles feel human and relatable compared to the formal arrangements at Chola or Hoysala sites.<\/p>\n These temples function as cultural archives of ordinary beauty\u2014showing us how regular people, not just royalty and deities, styled their hair in ancient India.<\/p>\n Curls on head \u2013 Khajuraho<\/p>\n<\/div>\n Ancient India hairstyles continue to inspire modern traditions, especially in weddings. The Praveni<\/strong>, a long braid embellished with ornaments, survives today as the Jada Billalu<\/strong> in South Indian bridal hair. Brides wear a single plait that extends down the back, decorated with gold discs, flowers, and jeweled accessories.<\/p>\n When I photographed temple sculptures in Hampi, I noticed how the Praveni braid was carved with beads and floral motifs. Modern hairstylists often recreate this look by weaving extensions for length, adding jasmine flowers, and securing the braid with traditional jadai<\/em> ornaments.<\/p>\n Other adaptations include high buns inspired by the Dhammilla<\/strong>, often worn at classical dance performances, and top knots reminiscent of the Sikhanda<\/strong>, now seen in yoga and spiritual contexts.<\/p>\n By blending tradition with modern styling tools, these ancient coiffures remain alive in ceremonies, festivals, and stage performances.<\/p>\n For brides and performers, recreating these looks is more than fashion\u2014it is a way of carrying forward centuries of artistry carved into temples and preserved in cultural memory.<\/p>\n Wedding Hairstyle<\/p>\n<\/div>\n Hair symbolized identity, discipline, and spirituality. Styles like the Shikha<\/em> or Praveni<\/em> carried social and religious meaning.<\/p>\n The Dancing Girl of Mohenjo-Daro<\/strong> (c. 2500 BCE) shows early hair arrangements, including knots and ornaments.<\/p>\n The Jatamukuta<\/em>, a crown of matted hair, is Shiva\u2019s signature style, representing ascetic power.<\/p>\n They act as visual records, showing how hair was styled across dynasties\u2014from braids to curls.<\/p>\n Yes. The Jada Billalu<\/strong> braid is a direct descendant of the ancient Praveni<\/em>, continuing the tradition in weddings.<\/p>\n Absolutely. Sites like Hampi, Belur, Khajuraho, and Konark display intricate carvings of ancient coiffures.<\/p>\n Hairstyle Sculpture from Srirangam Temple<\/p>\n<\/div>\n From the simple knots of the Indus Valley to the elaborate curls of the Gupta age, Ancient India hairstyles<\/strong> evolved as markers of culture, spirituality, and artistry. Temple sculptures across regions\u2014from Chola grandeur to Hoysala intricacy\u2014preserve these styles in stone.<\/p>\n Modern traditions like bridal braids and dance buns prove that these looks are not lost but adapted for today. Hair remains a living heritage, connecting us to centuries of identity and devotion.<\/p>\n Which of these hair styles was your favorite? Let me know in the comments.<\/strong><\/em><\/p>\n If you have liked these medieval hairstyles of women in India add it to your collection by pinning it. You can share with share buttons.<\/p>\n Her work has been published in Lonely Planet, The National (UAE), Whetstone Asia, Deccan Herald, and various architecture and heritage journals.<\/p>\n Connect with Indrani<\/strong>:\u00a0Follow Indrani on\u00a0Instagram<\/a>\u00a0|\u00a0Twitter<\/a>\u00a0|\u00a0Facebook<\/a>\u00a0for heritage travel insights, photography tips, and offbeat destination discoveries.<\/em><\/p>\n
it was a language of status, spirituality, and art.<\/strong><\/em><\/p>\n![\"Ancient](\"https:\/\/isharethese.com\/wp-content\/uploads\/Ancient-Indian-Hairstyles-by-Indrani-Ghose-1024x683.jpg\")
<\/p>\nHair as Cultural Identity in Ancient India<\/h2>\n
Religious and Spiritual Markers<\/h3>\n
![\"Men](\"http:\/\/isharethese.com\/wp-content\/uploads\/IMG_5198-2-1024x682.jpg\")
<\/p>\nPerformance and Prescribed Styles<\/h3>\n
\n
Life Stage Transitions<\/h3>\n
\n
![\"Hairstyles](\"https:\/\/isharethese.com\/wp-content\/uploads\/Hairstyles-in-Ancient-Indian-Sculptures-Hampi.jpg\")
<\/p>\nHairstyles during different Eras<\/h2>\n
Vedic and Indus Valley Era (3300 BCE \u2013 500 BCE)<\/h3>\n
\n
![\"Bronze](\"https:\/\/isharethese.com\/wp-content\/uploads\/Bronze_dancing_girl_back_view-562x1024.jpg\")
<\/p>\nMauryan and Sunga Period (3rd century BCE \u2013 1st century BCE)<\/h3>\n
![\"Notice](\"https:\/\/isharethese.com\/wp-content\/uploads\/Hairstyles-in-Ancient-Indian-Sculptures-Hampi-2.jpg\")
<\/p>\nGupta Period (300 CE \u2013 600 CE)<\/h3>\n
\n
![\"Bhramaka](\"https:\/\/isharethese.com\/wp-content\/uploads\/Bhramaka-Spiral-Curls-1024x682.jpg\")
<\/p>\n![\"Hairstyles](\"http:\/\/isharethese.com\/wp-content\/uploads\/Hairstyles-of-Women-Ancient-Indian-Sculptures-1-683x1024.jpg\")
<\/p>\nFamous Ancient Indian Hairstyle Types<\/h2>\n
Dhammilla (The Elaborate Ceremonial Bun)<\/h3>\n
Sikhanda (The Spiritual Top Knot)<\/h3>\n
Praveni (The Decorated Long Braid)<\/h3>\n
![\"Praveni](\"http:\/\/isharethese.com\/wp-content\/uploads\/Hairstyles-in-Ancient-Indian-Sculptures.jpg\")
<\/p>\nJatamukuta (The Ascetic\u2019s Matted Crown)<\/h3>\n
![\"Hairstyles](\"https:\/\/isharethese.com\/wp-content\/uploads\/Hairstyles-in-Ancient-Indian-Sculptures-from-museum-in-Hampi-1.jpg\")
<\/p>\n![\"Notice](\"https:\/\/isharethese.com\/wp-content\/uploads\/Hairstyles-in-Ancient-Indian-Sculptures-1.jpg\")
<\/p>\n![\"Hairstyles](\"http:\/\/isharethese.com\/wp-content\/uploads\/Hairstyles-in-Ancient-Indian-Sculptures-from-Patadakal2.jpg\")
<\/p>\n![\"Hairstyles](\"https:\/\/isharethese.com\/wp-content\/uploads\/Hairstyles-in-Ancient-Indian-Sculptures-from-Patadakal.jpg\")
<\/p>\n![\"Sculpture](\"https:\/\/isharethese.com\/wp-content\/uploads\/Sculpture-from-Srirangam-Gopuram.jpg\")
<\/p>\nRegional Masterpieces: Hairstyles in Temple Architecture<\/h2>\n
Chola Architecture: Royal Grandeur in Stone<\/h3>\n
![\"Male](\"https:\/\/isharethese.com\/wp-content\/uploads\/Male-figures-with-structured-top-knots-1024x682.jpg\")
<\/p>\nHoysala Intricacy: Technical Mastery at Belur and Halebidu<\/h3>\n
![\"Ancient](\"https:\/\/isharethese.com\/wp-content\/uploads\/Ancient-Indian-Hairstyles-1024x683.jpg\")
<\/p>\nKhajuraho and Konark: Intimate and Everyday Styles<\/h3>\n
![\"Curls](\"https:\/\/isharethese.com\/wp-content\/uploads\/Curls-on-head-Khajuraho-1024x682.jpg\")
<\/p>\nHow to Recreate Ancient Looks<\/h2>\n
![\"Wedding](\"https:\/\/isharethese.com\/wp-content\/uploads\/Wedding-Hairstyle-683x1024.jpg\")
<\/p>\nFAQ on Ancient Indian Hairstyles<\/span><\/h2>\n
Q1. Why did hair matter so much in ancient India?<\/h3>\n
Q2. What is the oldest evidence of Indian hairstyles?<\/h3>\n
Q3. Which hairstyle is linked to Lord Shiva?<\/h3>\n
Q4. How are temple sculptures useful for studying hairstyles?<\/h3>\n
Q5. Are modern Indian bridal hairstyles connected to ancient ones?<\/h3>\n
Q6. Can travelers see these hairstyles in temples today?<\/h3>\n
![\"Sculpture](\"https:\/\/isharethese.com\/wp-content\/uploads\/Sculpture-from-Srirangam-Temple.jpg\")
<\/p>\nConclusion<\/h2>\n
Pin this for later<\/span><\/h4>\n
![\"Ancient](\"https:\/\/isharethese.com\/wp-content\/uploads\/Ancient-Indian-Hairstyles-Kesh-Vinyas-by-Indrani-683x1024.jpg\")
<\/p>\nAbout the Author<\/h3>\n
![\"About](\"https:\/\/isharethese.com\/wp-content\/uploads\/About-Indrani-Ghose.jpg\")
<\/em>Indrani Ghose<\/a><\/em>\u00a0<\/strong>is a cultural travel writer and heritage documentation specialist with over 15 years of experience exploring and writing about temples across India and Southeast Asia. Having visited over 150 sacred sites, she brings both scholarly depth and personal narrative to heritage travel writing.<\/p>\n