Techniques of Indian Paintings by King Bhoja in Perspective.

Techniques of Indian Paintings by King Bhoja in Perspective.

By Dr. Bharati Mate, Pune

(Samarangana Sutradhara: Chapter 71-83)

Paper written for King Bhoja's conference held at Bhopal.

King Bhoja follows the traditional convention of infrastructure of his textual content arrangement. The Shilpashastra works prior to him allotted nearly one third portion for iconography, sculpture etc. King Bhoja has allotted chapter 70 to 83 for iconography, painting, preparation of painting tools and material, iconometry, classification of objects into male & female types, infusion of sentiments in images and various dance postures as an equipment of sculptural panels. Research Scholars, such as Dr. Ashok K. Bhattacharya have already written special monograph on the technique of Indian Painting on the basis of the study of Shilpa Texts including Samarangana Sutradhara.

Dr. A.K. Bhattacharya has taken note of Vishnudharmottara Purana, Chitralakshana Chapter, and T. A. Gopinath Rao’s paper on Indian painting in 1918. The first book on this subject appeared in 1934: The technique and theory of Indian Paintings by Dr A. K. Coomarswamy, on this rich research background, the appreciation and evaluation by Dr. A. Bhattacharya of relevant chapters from Samrangana Sutradhara are worth taking note of. It is worth taking note of research observations along the thematic sequence of those chapters.

As a fine painter I like to elaborate the pre-Bhoja period, contemporary and post-Bhoja, oriental and occidental, mundane and spiritual perspectives.

With traditional specialization, I have spent tapas in giving new dimension to perennial Rangavali Art and connecting it to age old Mandala Designs. When these chapters were handed over to me, I have intensively fathomed those from cultural artist’s perspective.

I personally feel, Bhoja’s art contribution should be appreciated in the perspective of pre-Bhoja, contemporary medieval period and post- Bhoja art conception and art presentation.

Pre-Bhoja period can be divided in to two broad groups: pre Christian & post Christian era. Pre- Christian period is again sub divided into Pre-historic & Historic.

In Pre- Historic Paintings the primitive artist had a natural gift for artistic expression, were proved or manifested in a very flexible manner. Primitive Artist interpreted his ideas by means of effective hematite brush forms. It has been attested by Bhimbetaka (Bhima’s seat) cave art, the part of Central India. The archeologists have approved Bhimbetaka to be the earliest Human Primitive Art (Paleolithic Era).

Where as in Historic paintings (pre-Christian period of Indian History) the rock cut halls & chambers were originally also adorned with frescoes is more than likely, but the devastating influence of the Indian Climate has been responsible for the destruction of these mural paintings.

In Post- Christian era, our classical heritage of Indian painting is broadly classified by Art Historians as Buddhist, Hindu, & Mohammedan. These paintings were symbolic in signifying the spiritual life of India.

Bhoja’s writing on Art is geographically attestable; since Bhojas Medieval sites: Dhar and Bhojpur have a potential of multidisciplinary comparative study. Besides there are other contemporary sites: Mahabalipuram, Tanjavur, Alampur, Ajanta, Bagh caves & Dilwada Temples.

Further she has classified the chapters into topics & sub topics on the lines of her predecessors: Dr. Ashok K. Bhattacharya and Dr. Rajani Patki have specially studied the chapters from indologist research point of view. Dr. Smt. Rajani Patki had taken fascination about the topics of painting and Rasadrsti etc and had written two research articles: Her article on the topic ‘Bhoja’s painting technology in Samaranganasutradhara’, was published in Prof. K.V.Sharma felicitation Volume, Adyar Madras. That article contains rich reference value. She has taken survey of Vedic references, Vishnudharmottarpurana, Kamasutra, Abhilashitartha- Chintamani, Raghuvansha, Swapnavasavdatta, & Kadambari.

Authoritative appreciation and evaluation of the topics of Chittrodesa (CH.71) Bhumi-Bandhana (CH.72) & Lepya- Karma (CH.73) comes from Dr. A.K. Bhattacharya’s book. His remarks, ‘Bhoja refers to panel, canvas and wall as the carriers of the ART’, and enumerates various technical aspects of painting including the preparation of the ground, first drawing, application of colour, shading, laws of proportions and nine stances’ etc, are noteworthy.

Taking in to account a period of million years ago, Bhojas description reflects progressive state of painting technology and art conception. On all the above points, Bhoja’s literary documentation with minor details, along with his actual art exhibits spread over Dhar & Bhojpur must have provided guidelines for Post- medieval artist, iconographers, painters & sculptors.

From the point of view of advancement of painting, this chapter deals not only with the preparation of ground but also that of Crayon. In verses 2 to 9, he elaborates the technique of Crayon-preparation. It has to be emphatically noted that innovation of crayons created a revolution in painting technology. With the help of Crayons, a new style emerged with which painting luminaries have work wonders.

As already noted by the above scholars, Bhoja’s description about preparation of ground in four categories: Siksika, Kudya, Patta & Pata has also paved the ground for future artists.

His Novel method of preparation of Canvas i.e. Pata as a painting base with the help of decoction made of paddy and Bimba fruits is especially noteworthy and apparently his own contribution. From the view point of art history, it appears that canvas is conspicuous by absence as painting base during Pre-Bhoja period. If so it may go to the credit of Bhoja that specialized Canvas making technique emerged. The art historians have already noted the long list of objects humans, demons, demy-gods, animals etc.

Another noteworthy point is encompassing painting technology in ‘eight limbs or the eight steps’, for making of Murals & Surface making. On this Dr. Bhattacharya has supplemented information about six limbs described in Vishnudharmottarpurana & Yashodhara the commentator of the Kamasutra. His remark that these limbs cumulatively emphasize aesthetic virtues of painting is notable. He further observes that Bhoja’s work apparently represents medieval Malwa & North Indian art tradition. His comparison between the terminologies in Vishnudharmottara Purana & Bhoja throws light on the heritage of Bhoja’s art tradition.

Under the topic of Lepyakarma following points are relevant from indigenous painting technology.

As per Bhoja, brushes for painting are of 5 types as under:

1. Kurcaka (Brushing by a Brush)	Vatankurakara	Sprouts of Banyan Tree
2. Hasta-kureaka (Brushing by Hand)	Asvatthankurakara	Sprouts of Asvatha tree
3.Bhasa-kurcaka (Brushing by Bhasa- Kurcaka	Plasksa-Suci-nibha	Sprouts of Indian Fig Tree
4. Calla-kurcana (Brushing with a mobile holder)	Udumbarakara	Sprouts of another variety of Indian Fig-Tree
5. Vartani (Brushing by rotating action)	---	---

The tips given by Bhoja, about the ways of handling of Brush by a Painter are universal all time true and pertinent like his definitions of Machine in Yantradhyaya.

Another great authority on painting technology: Dr. Dvijendranath Shukla refers to the mention of nine kinds of brushes by Dr. K. P. Jaiswal in his book ‘A Hindu Text of Painting’, is an essential reference for appreciating Bhoja’s treatment.

In Chapter 74, Bhoja deals with three dimensional iconometry & iconography. Andaka refers to the parabolic and the measurements specified in this section enable the drawings for the human face & torso. Three personalities are given: Uttama, Madhyama & Adhama to be shaped in to three dimensional image making.

Andaka Praman technology apparently has perennial tradition passing through pre & post Bhoja period and relevant even today. His methodology of vertical and horizontal placement is also a continued tradition. Dr. Rajani Patki’s table on different Andakas given under is relevant.

Andaka PramanaTechnology:

She has also highlighted Bhoja’s conception of ideal painter. Her tabular data of the parabolic lumps prescribed by Bhoja for iconography is produced herewith, due to its direct bearing on the theme.

Mukhandaka:	Male Face. The face should be measured in six pebbles vertical and five horizontal.
Female Face:	Similar to the male face. But the circle covering it should be of the shape of the coconut fruit.
Child Face:	Five vertical and four horizontal pebbles.
Bhavandaka:	The circle covering more than half portion is called Bhavandaka: For laughing and weeping face.
Alasandaka:	The circle covering half the parabola is called Alasandaka.
Hasamukha:	The circle covering a ninth part is called Hasamukha.
Smiling or weeping face:	Alasa type circle is to be used for showing laughter and weeping.
Demoniac Face:	The face of a demon should be measured with seven vertical and six horizontal pebbles and the circles should be circular like the Moon.
Laughing face of a Demon:	The Alasa type circle is to be used.
God’s face:	Eight vertical and six horizontal pebbles. It is a type of Divyandaka.
Divyandaka Circle:	It is a circle six angulas long with eight angulas broad.
Pramatha Face:	Similar to the child face.
Yatudhana:	Magician’s face. Similar to the demon’s face.
Danava Face:	Similar to God’s face.
Gandharva, Naga, Yaksha Face:	Just like the face of God.

In Chapter 75, Manotpatti, i.e. evolution of dimensions & scales. Author begins with the definition of Paramanu reaches the unit called standard unit called finger unit: Mahangula. This chapter reminds the eighth chapter dealing with measurement units used for temple architecture; here note that basic modules are separate.

In present day, sculptors are using grid methodology which is also perennial heritage since Mandala technology attested in Pauskara Samhita (Circa 300 AD).

In Chapter 76, the author deals with features of Iconography. He begins with the material to be used for preparation of icons in their gradation: Gold, Silver, Copper, and Wood & Stone. Even today the material used by artist depends on the affordability of the patron. However our art tradition has a sound base of religion & spirituality. It is because of it that medieval author lays austere regulations on practitioners of art such as: celibacy, sense control & food control etc, during the period of art-work. The reason is that the purity and piety maintained by the artist would reflect in the image taking shape. It is observed that the Sompura Sthapatis observed these rules even in present times.

In Chapter 77 & 78 respectively deal with forms & weapons of God & Defects in preparation of Images. Even though human anatomy is the base for iconography, sculpting of images of Gods, Goddesses, demy gods and demons etc, along with their conventional wielding of weapons is a specialized branch. This customary general knowledge has ample present day relevance. Along with technological norms, listing of defects, creeping in the artwork has also much importance. The artist has to be conscious of the defects and capable of rectifying those promptly.

In Chapter 79 & 80, the author meticulously describes various stances along with glances which are to be infused in the images to be sculpted. Those numerous postures are Rujvagata, Urdhavagata, etc, and these are hardly translated in to English. However, some parallels: Frontal, profile, semi frontal, semi profile, reverse, inverse etc can be given. These tips are useful even for present day teachers, students and practitioners of three dimensional artwork. These two chapters are thematically interwoven with next three chapters 81, 82 & 83. The main point to be observed and appreciated is that the artists catches the stances, glances and moods of human beings and transform those in drawing, painting, icon & sculpture. In the words of Padma-Vibhushana Dr. V. Ganapati Stapathi, ‘Architecture is frozen music’. This maxim can be extended to all performing arts; and the propriety of composition of long chapter (CH.83): Chatusasthi-Hastalaxana giving exhaustive description of 64 dance poses is understandable. If architecture & sculpture is a frozen music, it is also a frozen dance. And by converse dance can be viewed as molten sculpture. Thus in case, 64  dance postures in Ch.83 are somewhere found in archeological exploration within the periphery of Bhoja’s Kingdom, then this maxim may come to be sculpturally true.

Rasanubhava: Rasadristi:

CH. 82 deals with two themes, 1. Sentiment 2.Glance, both is connected to each other with depiction of Rasas.

Rasas are the essence of our emotions that exists in both body & mind. The Indian tradition recognizes nine Rasas as representing our most important & basic emotions: Love, Joy, Wonder, Courage, calmness, Anger, Sadness, Fear, & Disgust. As per Indian metaphysical musing of Risis, microscopic perspective of Panchmahabhutas i.e. Tanmatras is prime innovation which has served as the thematic layer for philosophy.

Five tanmatras

Aakash	From Sound
Air	From Touch
Fire	From Sight
Water	From Taste
Earth	From Smell

In Sanskrit, Rasa means “the essence of emotion”, as well as having more literal meanings such as ‘Taste, Water, Juice, Essence and ultimately Bliss.” Prof. Shankar Palshikar himself a great Painter and connoisseur of Indian Art & Culture in true perspective, uses the Upanishanik maxim Raso vai saha for appreciation of visual art. According to him the Rasa can be relished through human eye. However, such an eye craving for apprehension & appreciation of visual art needs a specialized training and intuition for discriminating the visible and invisible.” In Sanskrit it is termed as Drsta drsta viveka. This is the précised equipment for an artist to perceive the environment around through pure visionary perceptibility. This equipment would help I him to grasp and relish the theme of Rasadrsti presented by Bhoja. On this background the data presented by him on Rasa aspect & drsti aspect would be better apprehended. However, the proposition put forth by Prof. Palshikar that ‘A piece of painting is to be, can be and has to be relished by the entire group of five sense organs (Panchendriyas); because a painting provides Sound, Touch, Sight, Taste, & Smell, cumulatively through subtle painta-organic essence: Panchtanmatras. If we apply this faculty to the tenor of Bhoja’s treatment of Rasa & drsti, Medieval Indian art in cultural perspective would be precisely realized.’

Rasa is the energy which is partly mental & partly physical. It is important link between body & mind that affects our thoughts & emotions. As energy present in the entire universe, Rasa affects us as gravity affects our body. Rasa is the essence of all that is inside & outside, the feeling nature of both the self and the universe.

’Rasanubhava Through Art Forms as Conceived by Bhoja’, an article published in the journal of The Ananathacharya Indological Research Institute, Mumbai: Vol:III in 2001 by Dr. Rajani Patki.

Prof. Palshikar’s perspective, which have been found quite relevant at the concluding stage of introduction. After analysis of those articles the useful points and observations have been noted herewith.

‘Human beings experience the existence of the world through sense organs and mind. Therefore, an experience is two faced: subjective & objective. The subjective experience depends on mood of the mind as well as on feelings and emotions; it is the world within the man. Objective experience is related to phenomenal world, these experiences are the effects of human encounter with the world; fear aroused by earthquake etc. There is no such exact line of difference as such between subjective and objective experience. But the feelings and sentiments are mental aspects and Rasa, is experienced with this aspect of mind on psychological plane. On the physical level, the taste is being taken through perspective qualities of five sense organs viz: seeing, smelling, touching, hearing and tasting’.

As a painter I feel, ‘this quality of receiving the Rasa from the objects of outer world prompted ancient seers to discover different fields of art and architecture for the sake of enjoying the inherent beauty of the objects of external world: animate or inanimate. They inspired the artists to mould the inanimate objects by giving them such an artistic form that the piece of art could create the seminars in the hearts of the viewers. The inanimate building-structure looks alive because of the lighting or the decoration of the walls which are embellished by statues, figures or painting of animals as well as human beings, showed on them. How the figures look alive, how the expressions are shown on the faces of those figures which reflect the sentiments and by which the experience of those sentiments is transmitted to the viewers’ heart is also a matter of investigation for research scholars’.

In the CH.81 King Bhoja presents the measurements of each part of the limbs of a figure of a male or female, which an artist must know in the next chapter the author explains how the sentiments-Rasa and glances- Dristis should be effected on the faces of those figures, so as to grasp the feelings of those icons and experience the same in viewers’ mind and taste the beauty of that particular art. The author explains Rasa and Dristi in two parts of the chapter. Verses 1-13 unfold Rasa and verses 14-34 describes about dristis/glances/looks. Bhoja enlisted 11 rasas and 18 dristis, each of the dristis is related to particular Rasa, and it enhances sentiments. He further describes minute details of the lines drawn by an artist on the faces of those figures by which a particular Rasa is expressed on the faces and in the eyes of the figures of human beings as well as animals. Description is as under:

1. Sringara	Erotic	The moving eyebrows of eyelids with mood of love, and graceful movements express Shringaar Rasa.
2. Hasya	Laughter	The corners of eyes are expanded gracefully; lower lip is soft and not quivering.
3. Karuna	Compassion	The sides of the cheek are wet with tears, eyes contracted and the anxiety reflected on the face.
4. Raudra	Violent or wrathful	The end of forehead I wiped, eyes are red and turned round, the lower lip is bitten by teeth.
5. Preya or Prem	Love	The rasa is expressed when there is a feeling of acquisition of wealth or birth of a son, from joy and where there is horripilation on the body arises.
6. Bhayanaka	Fearful	This Rasa is expressed when there is a sight of an enemy, trouble, rise of turmoil in heart.
7. Vira	Vigour or valor	When there is a support to the body at eight places, the sutra is raised with courage, face is contracted, the strength is exposed
8. Adbhuta	Astonishing	When face is slightly agog,
9. Santa	Calmness	This rasa is expressed by unruffled, pleased eyebrows, eyes and face, having no lust for worldly objects.

This rasa is expressed by unruffled, pleased eyebrows, eyes and face, having no lust for worldly objects.

Dr. Patki rightly draws the attention of scholars to a notable point that, the author has not explained the details of expressions of Bhibhatsa rasa; but one can imagine how this disgustful and awesome feeling can be affected on the face. The pratyayaksa or pratyaya Rasa is also not explained in this chapter. The Anubhuti of Rasa is counted a separate Rasa and this is the distinct contribution of the author to the art forms.

Further Bhoja continues with 18 looks as:

1. Lalita	This look is expansive, confused, sidelong born with erotic Rasa
2. Hrsta	This look is pleased with the sight the beloved person.
3. Vikasita	End of eye is expanded, cheekbone expanded, playful, sentiment of humor is expressed.
4. Vikrta	This look destroys love, it is a Bhayanak glance.
5. Bhurkuti	This look is bright, there is slow seeing, and sight is fixed.
6. Vibhrama	This look is fixed on the object with playful confusion.
7. Sankucita	This is a contracted look, when it is full of love and sex appetite.
8. Yogini	This look is without expression, fixed on the tip of nose, because mind is in control
9. Dina	In this look upper lid is half opened, pupil slightly moving as if trying to control its movement, with tears rolling by grief.
10.Drsta	This look is like vikasita both pupils are steady, fixed, twinkling and energetic.i
11. Vivistavhala or Vivhala	It looks as if it is hurt, eyebrow side faded. Slowly moving, and looking tired..
12. Sankita	It is a scaring look, slightly steady, with expression of surprise.
13. Kuncita	In this look eyelashes are slightly contracted.
14. Jimha	In this look half lash is lengthened, looking through the corner of eye, with mysterious sense in the eye.
15. Madhyastha	In this look eyelids are straight, pleased, sober, without lust, no regards about anyone
16. Sthira	In this position of eyelids and eyebrows are even. There is no lust, no passion, a steady look.
17 & 18 Urdhvagata & vivikhyava	Author has not given any explanation for these two types of looks.

Colours & Rasas together spray a rainbow spectrum on the horizon of art. Bhoja has not touched upon this essential aspect of painting. In the present day artistic convention shapes are also taken as essential art component, rounded & harmonious shapes are deemed to be peace giving and inspiring (Sattvik), while sharp shapes are more exciting & capturing (Rajsik), & imbalanced shapes more confusing (Tamasic).

Indian Art uses specific colours to produce specific moods:

COLOURS & RASAS

Green	Sringara (Love)
White	Hasya (Joy)
Light Brown	Veerya (Courage)
Yellow	Adbhuta (Wonder)
Grey	Karuna (Sadness)
Red	Raudra (Anger)
Black	Bhayanaka (Fear)
Dark Blue	Vibhasta (Disgust)

In Tantra, as per Peter Marchand (“The Yoga of the nine emotions”, Rochester, USA, 2006); each body cell has a mind of its own the argument further culminates into the proposition Body and mind are one. Dr. V. Ganapathy Sthapathy puts similar proposition in the field of architecture: Vastureva Vastu, and reads the same in the Einstinian equation: E=MC , in his book Vastu-Shastra: a scientific treatise.

In Chapter 83, Dr. Rajani Patki observes the author further says that the exact expressions can be suggested by 1. Gestures of hand, 2.explaining it through looks and glances and 3. other bodily postures. These three characters together create exact Rasa, and convey correct meaning of that figure.  

As per Dr. Rajani Patki, King Bhoja reminds us that, in the ancient and mediaeval time Rasanubhava is not neglected in day to day life or even in performance of art. Therefore, King Bhoja might have been added these three chapters of art form to his encyclopedic work.

These observations highlight the present day relevance of Bhoja’s theme covered in CH.81-83: “However, poetry or drama or painting is basically subjective, are there or can there be any norms or rifles or lessons by grasping which an amateur can master the art? It is not practicable, however, if out of poetry a science called poetics can evolve and if out of drama the science of dramaturgy can evolve then why not a science could develop to provide norms for reflecting the lively feelings into inanimate matter. And our ancient seers have tried to record their realizations in creative art into manuals called shastra. Apparently, the three chapters 81-83 of Samarangana Sutradhara seem to be an attempt to provide a sort of manual for amateur artist trying to put life in to inanimate matter. Consequently these three chapters are not detached but display the attachment to bridge architecture with poetry and dramaturgy and through it the human realization of Rasa. A researcher of present day is sometimes astonished by the success of our ancient thinkers, seers and practitioners of art in not only personification but further more deification of inanimate objects in the master pieces of art. Personification is the matter of realization but perhaps it is the specialty of our iconographers and sculptors or painters that they not only infuse divine life in the same matter and succeed in communicating the revelation of that divine life to the spectators in whom the icon arouses the feeling of devotion. Perhaps this revelation of special Rasa prompted Bhoja to add one more rasa namely Pratyayakhya (Anubhuti) to the common list of nine which is already supplemented by Santa Rasa.’

It is a research convention that, for any theme comparative study is essential. Dr.Rajani Patki has fulfilled this need by opening a spectrum of the treatment of the theme of Rasa by Bhoja himself in his two other works: Saraavatikanthabharanama & Sringarprakasa. She has pin pointed the comparison as Bhoja discussed 10, 11, & 12 Rasa in three different books of his own.

In this occasion of celebrating and reminding King Bhoja’s efforts. I like to thank the organizers of this conference for giving me the opportunity to participate.