Shadanga of Indian Painting

Around the 1st century BC the Shadanga or Six Limbs of Indian Painting,
were evolved, a series of canons laying down the main principles of the art.
‘Shadang’ or the six limbs of Indian Art find their first mention in
Vatsyayana’s celebrated text Kama Sutra. Vatsyayana, who lived during
the third century A.D., enumerates these in his Kamasutra having
extracted them from still more ancient works. Shadang weaves the
language of an art work. It defines the principles of creation of an artwork.
It mirrors the limbs of art, without which an art work is deficient. The
limbs, through which, art gets life and stand completely as a creative
creation by an artist. In this materialistic world, art or kalaa is considered
as a purest form in itself and it can be showcased in any manner, and
because it is pure, it needs to be a lot of dedication, meditation and
concentration. Shadanga: a one of the rule of art of painting written in
ancient period, a word consist of 2 very important words, one is shad,
meas 6 and anga, means part. Shadanga consist of the six limbs, or canons
of art, on which the whole art of painting depends. If a painting with any
subject is a body so these shadanga are the body parts of it and if the
painting lacks any of the parts of shdanga, it was considered as an
incomplete, fruitless and meaningless creation.
 “Roopabhedah pramanani bhava-lavanya-yojanam |
Sadrishyam varnakabhangam iti chitram shadangakam
||”
Rupa-bheda (variety of form); Pramana (proportion); Bhava (infusion of
emotions); Lavanya-yojanam (creation of luster and having rainbow
colors that appear to move and change as the angle at which they are
seen change); Sadrishya (portrayal of likeness); and Varnika-Bhanga
(color mixing and brushwork to produce the desired effect)
Rupa-bheda (secrets of form)
Rupa – bheda presupposes accurate draughtsmanship and the
importance of Form. It stresses on the Physical typologies of
form. It not only stresses on the knowledge of form (Rupa) but
also on the subtle and stark difference of forms. For instance a
work must be articulate enough to let the ordinary eye decipher
between a dead man and a sleeping man. In the Shanti Parva of
Mahabharata sixteen types of forms have been mentioned as,
small, long, thin and angular etc. There are several types of forms
but they are different from each other due to their chief
characteristics. The forms can be perceived by eye and soul.
However, they can be judged by their individuality. First of all it is
the eye that sees the Roopa but after that it is introduced to the
soul. Roop is an intrinsic natural beauty of visual appearance and
it is brought out by skillful manipulation of line or modulation of
color which effects Bheda, differentiation of form.
Endless and varied are the forms which our senses feel,
perceive and observe. Rupabheda means the analysis and
synthesis of forms given to us by our five senses and our
soul, or mind. When we approach Rupa merely with our
senses, it is only the differences of visual things, or the
outward form of things which we catch; it is either short or
long, circular or angular, big or small, dark or fair, rigid or the
reverse.

Example - In the given painting of padmapani from Ajanta

cave no. 1, so many forms are visible. Padmapani a form of
Buddha, holding a blue lily, showcased like a youthful king
with luxury and charm, standing along with the princess,
attendants, musicians, kinnaras animals like monkeys and
birds. In Background with the architectural scene, trees and
plants. And figures with different colour complexions, poses
and performing actions.
In the basholi painting of clouds made along with the interesting variety of ghosts and
demons submerging with the clouds, not only visually appealing but also a deep thought
and conceptual features behind it, it makes a kind of soundfull subject to the viewer and
speaking in itself as every cloud with its own individual characterization or rupa-bheda.
Pramanani (proportion)

The manifestation of form must be guarded by the power of Pramanani

(proportion). It emphasizes on perception, measurement and structure. It
provides an insight into the structural anatomy of objects. Pramana means
measure, in Indian philosophy, the means by which one obtains accurate and
valid knowledge (pramā, pramiti) about the world. A basic particular size and
proportion of any character in art.

It is the correct spatial perception of the objects painted and maintaining a sense
of harmony, balance and a sense of proportion within the figure and also in its
relation to other figures; and to the painting as a whole. The sense of proportion
also extended to the way major figures are depicted by placing at the centre and
surrounding them with lesser figures in smaller size symbolizing their status with
the main figure. The Indian artists were guided more by the proportions than by
absolute measurements. The proportions were often symbolic and suggestive.

Pramana lets us to understand the important and less important parts and
objects in subject of painting Example
In the painting taken from Ajanta caves, with a
subject- explaination of the dream by maya
devi the mother of Buddha. Maya devi is
standing in a very harmonious pose along with
the servants with a support of a pillar. Because
she is a queen she is different in colour
complexion with Indian red and with a high
proportion in size and rest of of the figures with
opposite colour scheme and smaller in size,
which makes the difference in importance.
In the relief sculpture of
trivikrama, the fifth incarnation
of lord Vishnu, he is shown in
the monumental size as he
made victory on the three
words with his three feet
measurement, one foot on
swarga (heaven), second on
prithvi earth and finally he put
his third foot on the head of
demon bali to destroy his
arrogance. So because he is
the winner of three worls he is
shown gigantic in hight and
rest of the figures smaller in
size.
•Bhava (emotional Disposition)

Bhava-yojana speaks about the emotion, a feeling or an intention. It eulogizes

the expression of emotions; the formless. Beauty and grace cannot be imparted
to the image by any cut and dried rule. It must come from the heart of the artist
and sculptor. Bhava is the representation of sentimental grace in posture and is
the action of feeling of form. The expression of sentiments has been taken as
one of the most important things in painting. Our eyes see the emotions and the
same are expressed by graceful distortion of face. But the deepest expressions
of the same are felt by heart only. Thus showing of disposition or posture only is
not enough in a painting. The Bhava is an expression of inner sensation which
comes naturally through visual representation of object. We can easily see the
overt expression of sentiment by our eyes, but only heart can feel its covert
form. It is invisible action of visible condition which creates inner delight to the
spectator. In Indian theory of art Bhava is the essential aspect of artifacts.

Bhava are of two types, covert i.e. the hidden emotions and overt i.e. revealed
emotions. Celebrated Indian artist Ravi Varma is particularly noted for his
paintings that most delicately depict the veiled emotions. One of his most
famous paintings show Shakuntala, who pretends to remove a thorn from her
foot, while actually looking for Dushyantha, as her friends call her bluff.
Lavanya-yojanam (gracefulness in composition)

Lavanya, an extremely essential limb of Indian art stands for ‘Grace’. Its
importance can be illustrated through the example of a meal/curry rich in all
flavours and spices save the salt. Just as the curry loses its charm without
the salt, so does a painting without lavanya. The Indian Yakshi sculptures
at Kajhurao and Konark are a hallmark of Lavanya. Here the Yakshi of
Didarganj deserves a special mention for its unparallel beauty and poise.
This life size statue is one of the most remarkable pieces of Mauryan art. It
is an ideal example where its creator has truly infused grace in her beauty.

Lavanya blooms in the bodily postures, bhaav- bhangima and of course in

the ornaments and robes that add to the beauty of bodily contours. Another
striking example of Lavanya is the sculpture at Sun temple Konark, of a
heavenly nymph writing a love letter. One can experience the fragrance of
grace in every visual modulation of her inner love, be it the posture, the
expressive eyes or the way she holds the pen and the pad.

An artist cannot justify a character unless this grace is achieved for it is this
lavanya that enables him to show the beauty that resides not in appearance
but essence.
Sadrisyam (similitude)

Sadrishyam means Similitude. An artist strives to achieve similitude in his

creation. Sometimes he derives this similitude from the forms, sometimes
from the attributes and sometimes from the virtues. In Chitrasutra of
Vhishnudharmottara purana there is a mention of 5 types of eyes that have
sadrishyam in the forms like fish, conch, lotus petals etc. In Indian poetry, just
as in Indain paining, the black lustrous curly locks of a woman are compared
with the snake or dark clouds. Even in the asanas like the bhujang asana,
mayur asana and lotus asana one find sadrishyam of certain animal
postures.
Varnika-bhanga (colour differentiation)

This limb pertains to ‘colour’ that lends soul to an artwork. The beauty of
colour is not in the colour but in its application. A master painter magnifies
the splendour of different shades on the surface with the strength of the
stroke of his brush. The myriad hues are not only an aspect of appearance
but are the expression of inner character. In the hands of a versatile artist
even ordinary colours pronounces extraordinary exuberance.

These six cannons of art do not curtail artistic freedom rather aids it. The
Chitrasutra of Vhishnudharmottara purana mentions that the artist needs to
experience the mysteries beyond cognitive intellect. He mustn’t restrict
himself to understanding the work, but also experience it directly. That is
where the real rasa is. It states that, valuable as these various instructions
are, they are derived from and subservient to practice .The artist has the
freedom to work according to his own intellect.