Six Limbs of Art

Principles (Shadang) Or Six Limbs of Indian Art

The six limbs of Art or the theory of Indian painting is first mentioned in the Kamasutra of Vatsyayana. Six Limbs of Art were composed in B.C. 600-200. Further, Yashodhar Pandit, a resident of Jaipur criticized it in the 11th century and presented the theory of these ancient paintings in one verse:

Form

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Proportion

In this theory of limbs, Proportion has described body composition according to the appropriate ratio of organs. Indian scholars have mentioned five types of forms. However, they have given their measurement as follows:

• Baal (Boy): Five Taal, like – Gopal
• Kumar: Eight Taal, like Waman
• Human: Ten Taal, such as Arjun, Pandava, Ram, Krishna
• Horrible: Twelve Taal, like – Bhairav, Heyagri, twelve

Baal (Boy): Five Taal, like – Gopal

Kumar: Eight Taal, like Waman

Human: Ten Taal, such as Arjun, Pandava, Ram, Krishna

Horrible: Twelve Taal, like – Bhairav, Heyagri, twelve

Monsters: Sixteen Taal, like Ravana, Kumbkarn

However, the word Taal is used as a unit for measurement. Apart from this, Angul(Finger) proportion is also considered or used. This is a simple fact of Proportion. But the use of these measurements depends on the logic of an artist. The artist should also measure it repeatedly from his Rational Power.

Expression in Six Limbs of Art

Thus, we can see the expressions through the eyes in the picture. But some feelings are not concerned only with the vision. Hence, an Artist has to experience to develop for those expressions to show. Consequently, other techniques or remedies have to be used to show the feeling.

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Gracefulness in Composition (Lavanya Yojnam)

This limb is an important principle of painting. According to this, the image or artwork should be elegant with the expression. As the limb of proportion gives the direction to artwork, this limb of Lavanya Yojnam makes it more excellent. As we discover earlier the expression denotes an inner sense of beauty, while Lavanya Yojnam is a symbol of external beauty. If there is any shortfall after emotion, form, or proportion, sometimes it can be fulfilled by applying it.

Simulation (saradshya)

In this part of the limbs, Simulation is actually to copy (Sadrashya). In Indian painting, Sadrshya is considered as the main Vaastu. That is why this is described in this way:

Chitre saradshya-karanam pradhan parikirtatam.

-Chitra Sutra

In summary, just copying is not enough, and getting the reflection is not enough. Similarly, the meaning of this theory here is the importance of the objects. So the objective related to the subject matter is also important. For example, if you want to visualize the river, it is considered to depict fish, turtles, grasshoppers, lotus, trees, and birds. Accordingly, in Indian art, this quality of simulation for the human body has been discovered in the natural abstracts which are as follows: –

• Eye: Lotus Leaf, Lotus Bud, like Deer, like a Bird or Fish Like
• Ears: Like the wings of a vulture,
• Nose: Like sesame flowers or parrots,
• Nostrils: Like beans,
• Lip: Like the flowering of the beans or beans,
• Soles: Like Neem leaves or bow,
• Fingers of hands: Like beans of beans or Chamba buds,
• Male waist: Like a lion,
• Woman’s waist: Like Damru
• Thighs: Like the elephant trunk

Color Composition in Six Limbs of Art

The last principle-the color composition tells us the perfect and suitable use of color. It tells us the mixing and the use of color with the importance of tools. This principle explains to us where and how to apply color with Tulika (brush). In conclusion, the above five Limbs are useless. Particularly, it does not have a sense of an artist doesn’t know about this theory of color combination.

The painter should have the knowledge of Varnika-Bhang (Color Combination) and should take full care of it. Therefore it is very necessary for a painter to have control over his Tulika (brush).

Conclusion

In this way, an attempt has been made to recite six Siddhantas (Principles) of Indian painting. So, art lovers should take care of them when they make artworks. However, there are no definite rules; neither an artist should follow any certain rules. Even though considering art as a spiritual practice in Indian culture, these principles are presented just like guidance. Ultimately, all artists should continue to carry out efforts and practice regularly to develop their style of art.

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