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267 -> THE TECHNIQUE OF INDIAN PAINTING. As regards the elements of painting Yasodhara, the commentator of the Kamasutra, speaks about the 'Sadahga', the six limbs of painting i.e. Rupa-bheda, Pramana, Bhava, 48 Lavanya-Yojana, Sadrsya and varnixa-bhanga. All categories are dealt with by the Vismudharmottara. Sadanga -> The Six Limbs Of Indian Painting. These six limbs were put into practice by the Indian artist. These are the basic principles in the science of painting. (1) (2) (3) (4) Rupapheda - It is the knowledge of the variety of forms or appearances. It refers to the study of nature and knowledge of the figure. Pramana - is proportion, anatomy and correct perception, measure and structure. Bhavayojana is the infusion of emotions. LavanyaYojana is the creation of grace and lustre i.e. artistic representation. (6) Sadrsya is the similitude or the protrayal of like ness. (6) Varnika bhanga - is the artistic use of brush and colour. These 'six limbs' themselves show that the art of painting had been developed in India at a very early time.

268 We find that these features had been carefully considered These by the Buddhist artists. These traditional principles are found in the paintings of Ajanta. The figures at Ajanta prove the close observance of the canon of 'Pramana'. The Buddhist artists succeded in the representation of emotions. 'six limbs' cover practically the entire technique of painting. The caves at Ajanta contain great masterpieces illustrating scenes from Buddha's life. The Buddhist painters achieved great mastery in presenting the complexities of human form and subtle emotions. This classic age in India shows great skill in painting. For example, the Jataka illustrates the "Great Renunciation'. The figure of Gautama Buddha is of life-size, stooping slightly and holding in the right hand a blue lotus flower. "It is in its expression of sorrow, in its feeling of profound pity that the great work of art excels." And this is not a rarity. Many scenes and figures at Ajanta express the unique skill in the technique of painting and the surprising mastery over the essential 'six limbs' in painting. The Nine Positions. The figures may appear in various positions. The Visnudharmottara describes the nine positions of variegated colours, with auspicious forms and gestures. (1) Rivagata - the front view. This pre-eminent position has a beautiful appearance. It is due to a static posture called ju. In this position all the organs of sense i.e. eyes, mouth, nose and ears are visible. A pleasing, well proportioned and

- 269 shaded body, faces the spectator. (2) Anrju - the back view. This position is not described. It is the reverse of the Hivagata. (3) sacikrta Sarira - A bent position in profile view. Because of a curved posture, it looks charming. Half of the eyes and half of the forehead and also of the nose are shown. The one eye that is to be seen in profile and also the eyebrow is artistically foreshortened. (4) Ardhavilocana - The face in profile, the body in three quarters profile view. One eye is shown in full. The forehead and one eyebrow are visible. The next visible part is half of the cheek from one side only. Half of the usual length of the lines on the throat and a 'yava' only of the chin are shown. Three quarters of the waist and other parts are shown. (5) Parsvagata - The side view proper. The position is occasionally called Chayagata i.e. coming out of the shade, only the side is seen, either the right or the left. In this position one eye, one eyebrow, one temple, one ear and half of the chin and the hair should be shown. It is possessed of qualities like sweetness, grace and proper proportion. (6) Paravratta - With head and shoulder-belt turned backwards. This position is said to be 'turned back by the cheek' (Gandaparavrtta), whose limbs are not very sharply delineated. It has appropriate measurement in proper place and has attained Ksaya (diminution) in forehead, cheek and arm and also in the

- 270 throat. These parts are vaguely discernible as they are lying in the shade. They are artistically foreshortened and look slender and tender. (7) Prsthagata - back view with upper part of the body partly visible in forlorn profile. In this position one side only is seen. The chest, one cheek and the outer corner of the eye only are faintly shown. (8) Parivrtta with the body sharply turned back from the waist upwards and only half to be seen on account of its reverse position. 49 (9) Samanata - The back view, in squatting position with body bent, but with the hips in full view, with the soles of the feet joined, with half of the body faintly seen from above. A further passage which enumerates thirteen positions is an interpolation according to stella Kramrisch. The first and the eighth positions are identical. Ksaya, Vrddhi and Pramana. These nine positions are obtained with the help of the standardized canons namely Ksaya (decrease), Vrddhi (increase), and Pramana (proportionate measurement) Ksaya and Vrddhi is the science of foreshortening. This law was intensely studied by the ancient Indian painter. Proportionate measurement should be employed with the help of Ksaya and Vrddhi. These three are of two kinds, Citra (simple) and Vicitra (Variegated). The latter again is of three kinds,

- 271 uttama (full), Madhyama (middling) and Adhama (small). Kaya and Vrddhi have their origin in the body and various limbs. They vary according to the position. 50 Rekha The The modelling capacity of the outline (Rekha) is discussed in the Natyasastra. Rekha is an important element. Rekha means the delineation and articulation of form. painter draws an outline in yellow and red colours as a rule. "Calculating the size of a thing in his mind, the painter should draw the outline marking all the limbs. It should be #51 bright in prominent places and dark in depressed places. According to the Visnudharmottara this outline has to be filled with the first colour wash which is generally white. But it may also be green. Greenish (durva sprout - dark) is mentioned as the variety of Syama. Vartana 52 The knowledge of modelling or shading (Vartana) was also studied by the ancient Indian artists. Vartana is the display of light and shade. With the help of vartana, depths and elevations are expressed and thereby the modelling of the body protrayed in a picture. T.A. Gopinath Rao says, "The very name 'Citrabhasa' applied to painting is suggestive of the fact that the principles of light and shade also were well " 83 understood pretty early by the Indians.

- 272 The Vismudharmottara says that a painting in which an object is devoid of shading (Vartana) is called mediocre (Madhyama). A picture which in some parts is shaded and in others remains without shading is bad (Adhama) and a picture 54 shaded all over is good (Uttama). (1) Vartana is stated to be threefold. Patraja - cross lines. It is called Patraja on account of lines in the shape of leaves. (2) Airika - Stumping. This method is so called because it is said to be very fine. (3) of Binduja - Dots. It is called because the restrained (i.e. not flowing) handling of the brusn. Dr. Stella Aramrisoh observes that the female figures painted on the rock of Sigiriya show the various manners of shading. Dr. C. Sivaramamurti observes that the frescoes at 55 Ajanta are excellent illustrations of the 'Six Limbs' (Sadanga) of the art of painting. "The artist has not only control over the proportions of individual figures but has also the ability to group them. Emotion is at its best in the depiction of scenes from the legends; the grace in some of the figures bespeaks Lavanya-yojana. The painter's colour technique shows his capacity in varnika-bhanga (i.e. mixing of colours to produce an effect of modelling). Effects of light and shade were achieved by the process of streaks and dots illustrating the methods of Patravartana. As well as the depiction of

- 273 Vartana, the artists at Ajanta demonstrated the superiority of line drawing as given in the Visnudharmottara. The lines composing the figures painted at Ajanta are sure, rich in form and depth, and recall the lines in praise of the effective line drawing in the 'Viddhasalabhangika. drsyate purna murtih | r fordu where by a few lines sketched, the maximum effect of form is produced."56 Thus the scientific paintings at Ajanta, as long as they survive will tell the story of the genius and the skill of artist in most glorious terms.