His is a journey of an ambitious king, who fought the bloody war of Kalinga.
On the battlefield he stood amidst conquered corpses and his realization that a true conquest was by conquering hearts of people led him to spread Buddhism and it's message of love and compassion across the world.

'Asoka', the film attempts to portray Asoka's personal transition from an ambitious prince to a lover, a conqueror and finally a messenger of peace, a changing mind like the change of seasons.

The legends of Asoka are dramatized and presented in a traditional Indian form of storytelling.

Santosh Sivan

When we first met up with Kareena to discuss her 'look' for 'Asoka', I was struggling with the idea of making her look exotic and different, how to enhance the facial features especially the eyes and so on. Santosh had clearly expressed that he wanted no make up at all for any of the women characters in his film. He had also mentioned that he wanted a lot of body art in the film. He had even handed me some 'tattoo kits', which he had picked up during his trips abroad, only a few months before we embarked on 'Asoka'.
This posed a challenge because tattoos had already become a craze in the West. So much so that a mere mention of the word 'tattoo' instantly brings to mind loud images of an obsessive subculture.

I began reading up information on websites as well as some history texts, which talked about the Mauryan Dynasty and the social structure prevalent at the time. At around that time i.e. 274 - 232 BC, the period of Asoka's reign and even in the years prior to that, from the time of Emperor Chandragupta's reign, there was strong influence of Egyptian and Greek civilizations in India. This was especially so in the arena of fashion, the style of dressing and also cosmetics, the use of colors to enhance the facial features. The way the Egyptian queens painted their lips and cuticles red and also used bright colors (blue, green, yellow and gold powder) for their eye lids, the concept of 'eye shadow' perhaps came from there. Although not completely but this trend had reached India through trade and travel, which was at it's height in the Magadhan Empire. In some texts, there is also mention of import of make up, cosmetics from as far as Egypt.
The queens also had elaborate body art in these times. In prominent historian Romila Thapar's book there is also mention of an interesting detail. The queens wore 'heels' and this was a purely Greek / Roman influence.

There was yet another challenge, if there was to be body art incorporated in the film then it would have to be carefully thought out. For instance any design drawn on the body would have to look very 'period', with no lines, shapes or forms that were remotely modern. This was both interesting and tough. I began experimenting with lines and shapes and came up with designs that looked 'period' and not modern in any way. The most interesting and yet simple is the design which I drew on the corners of Kareena's eyes. Since she has green brown eyes, and the design is with black, this made them look even more stark. It also makes her eyes look larger and more prominent as compared to the other features on her face.
During the first schedule in 'Panchmarhi', M.P., I was apprehensive about the body art. Santosh had mentioned how he wanted it subtle and not too overpowering. For this reason I confines the art to the space just below the collar-bone, on the outside arm and the eyes. Occasionally he would ask for a navel drawing or a more elaborate design.
The body art gave the costume an exotic detail and made Kareena look beautifully unique. Santosh then wanted the body art really elaborate in songs such as 'Roshni Se'.
Gradually it became an essential detail of the look of some of the more prominent characters in the film. For instance, 'Bheema' (Rahul Dev) with the sun emblem on his arm, the spade and snake design on 'Giri's' (Shabbir's) forehead, which made him look more evil.
Eye make up also comprised of painting black kohl both on the inside and the outside of the eye, forming a sort of thick rim. The paintings and rare visual references of the time depict the dramatic emphasizing of the women's eyes. The eyes were undoubtedly the most prominently highlighted feature among the women in those times.
This detail makes Kareena look very exotic and Indian. The concept of no make up (foundation or lipstick) works very well with Kareena, as she has a lot of natural contrast on her face.
Overall there is no make up for any of the women characters in the film. Rather than make up, we have attempted to use detailing on the face such as the use of red and black powder for 'tilak', which is more ethnic and Indian.

SHAHRUKH KHAN :

Shah Rukh Khan is among the few actors who have managed to combine mass with an artiste's passion for creativity and experimentation. An intense performer Shah Rukh today rules world's biggest film industry - Bollywood with his visceral performance ranging from a love-obsessed fanatic to the quintessential romantic hero. His Dilwale Dulhaniya Le Jayenge recently became the longest running Hindi film ever. Shah Rukh's passion for film is not restricted to acting. He understands the true potential of the cinematic medium and its importance in shaping reality. Armed with this belief, Shah Rukh is already an active catalyst in the growth of Indian film industry. A versatile acto, a mega star, an astute businessman, a visionary-Shah Rukh Khan dares to dream...unlimited !

JUHI CHAWLA :

Former Miss India Juhi Chawla is one of India's most adored film actresses. Her debut film Qayamat Se Qayamat Tak brought back the trend of gossamer romance to Indian screen. Since then she has gone from strength to strength enthralling the audience with her spunky performance. She has the perennial Indian girl-next-door image which has endure and endeared over the years. Juhi's objective to be an active participant in movie making is manifest from her recent foray into production. She has balance her effervescent on-screen persona by lending her special involvement in every aspect of film production and planning.