Six Limbs Of Art.docx

SIX LIMBS OF ART Around 1 century BC the Shadanga or six limbs of art were evolved. Some classic study on the technique and the theory dating to early gupta period that are available have listed six basic aspects of painting. These six limbs have been translated as follows: Rupabheda pramani, bhavalavanya yojanam, sadrushyam varnikabhangam, iti chitram shadakam! The shloka about the six aspects of painting is found in Yashodhar’s “Jayamangala” the study on the ‘Kamasutra’ of Vatsyayana. There is however no mention of the author or the time of writing. 

RUPA BHEDA – The knowledge of looks and appearance ‘Rupa’ means the appearance of the subject. The perception is visual as well as mental. ‘Bheda’ on other hand means difference. In other words, for a painting an artist needs to have a knowledge about different form that exists. For instance, he needs to have the knowledge about how the form of life differs from the form of death. ‘Roopabheda’ enables an artist to perceive and depict things as they appear. Of course, this does not solely depend upon the power of sight. Experience is also as much important as the former.

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PRAMANI – PROPORTION The display of the forms must be guarded by the power of Pramani (proportion). Pramani teaches us the exact measure, proportion and distance of the subjects. It also provides understanding regarding the structural anatomy of objects too.

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BHAVA – The feelings on forms, emotions. ‘Bhava’ means an emotion, a feeling, an intention or an idea. This aspect of art is depicted in the form of emotions expressed by the subject. No painting is complete without a bhava. In fact, in an entirely lifeless depiction, this is the only aspect which can bring a sense of life and passion. Bhava is like a breeze of air, it gives a painting a much-needed emotion.

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LAVANYA- YOJANAM – Aesthetic Scheme. The paramani is for proportion and bhava is for expressing emotions. Lavanya yojanam is for controlling the over expression of both. A painting should be gracefully high in its artistic quality. Everything that is true and natural may not always look beautiful. The artist has to make it so by adding or deleting a few details. This is exactly what the Indian artist have achieved in their arts. Abanindranath Tagore, the famous artist from west Bengal has described lavanyam yojanam as a ‘loving mother, who is also careful about the rules of raising up her child.

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SADRUSHYAM – lifelikeness This is the next step after Rupabheda. The artist has captured the minute details in nature very sharply. The various positions of animals are evidence to it. E.g. The frightened elephant in Gajajatakakatha, or the various feminine positions look very lifelike. There is a perfect blend of accuracy and imagination. The impact of the finished work exactly matches with the artists original intention while painting. This is an achievement for the artists.

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VARNIKABHANGA, - An artistic way of making use of brush and colours This term has three interpretations – a) Colour b) attire c) Brush. It is this interpretation that is most correct. There are brushed of varying thickness. The artist must know which thickness of brush to use

when. The principle focuses on the way the strokes are applied to the canvas and the knowledge an artist has regarding various colours. The Shadanga is an inevitable part of every Indian Masterpiece. From the ancient paintings to the paintings of today every notable has silently put to use these six principles. These six aspects were the touchstones for classic ancient art and they will continue to be so for future art as well.