Chitrasutra Also Mentions Six Limbs of Painting

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Chitrasutra also mentions six limbs (anga) of painting as: rupa-bheda (variety of form); pramana (proportion); Bhava (infusion of emotions); lavanya-yojanam (creation of lustre and having rainbow colors that appear to move and change as the angle at which they are seen change); sadreya (portrayal of likeness); and varnika-bhanga (color mixing and brushwork to produce the desired effect) (i). Rupa-bheda consists in the knowledge of special characteristics of things – natural or manmade. Say, the differences in appearances among many types of men , women or natural objects or other subject matter of the painting. (ii). Pramana: 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 Vis a Vis the main figure. The Indian artists were guided more by the proportions than by absolute measurements. The proportions were often symbolic and suggestive. (iii). Bhava: consists in drawing out the inner world of the subject; to help it express its inner feelings. It takes a combination of many factors to articulate the Bhava of a painting; say , through eyes, facial expression, stance , gestures by hands and limbs, surrounding nature, animals , birds and other human figures. Even the rocks, water places and plants (dead or dying or blooming or laden) are employed to bring out the Bhava. In narrative paintings, the depiction of dramatic effects and reactions of the characters from frame to frame demands special skill. Since colour is a major medium in painting, the emotions and moods are expressed through manipulating colours, their density,

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