सामने के कक्ष का द्वार खोले आम्रपाली मुस्कराती वहाँ खडी थी । उस ने मपरी ढंग की साडी पहनी थी सर्वसी कंचुकी से अत्यन्त बारीक चीनी शुक के अधोवस्त्र से उस की आधी देह ढंकी थी । लंका के बड़े बहे समान और तेजस्वी मोतियों की माला इस के ग्रीवा-प्रदेश में भूल रहीं थी : महिम मेखला, हीरे के कुंडल और रत्न जटित नूपुर-इन आभूषणों से आम्रपाली का सौंदर्य ... Bhāratī (1956).
Amrapali stood smiling at the open door of the room opposite. She had worn a mapari* style saree, of the whole apart from the kancuki** half her body is covered by a very thin Chinese silk lower garment. Lanka’s lustrous pearl chains swing around her neck. A fine girdle, earrings of diamond and gem - studded anklets, from these ornaments Amrapali’s beauty.. .Bhāratī (1956).
Above translation by me, the text was a bit garbled and incomplete so I am uncertain about certain phrases but you get the gist.
Screencaps are from Amrapali (1966). The costumes of Amrapali were considered daring at the time, though probably modest in view of the actual Amrapali’s times. Vyjayanthimala mentions in her autobio that the costumes were skin fitted and used thin fabric to give an illusionary effect. The costumes were designed by Bhanu Atahiya but it’s likely dance costumes were by Aiyyelu (India Today, 2002).
The reference to Chinese silk in the 1956 text is based on historical sources, Chinese silk was prized in Ancient India,
A lot of lustrous and pale bindis in the movie, the one in pic 2 is evocative of sandalwood which was extensively used for decoration in Ancient India.
*mapari, I couldn’t find any references to this word. Is it a regional style of saree or a drape, not clear from text or google.
**bodice.