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Indian classical dance

Dance forms
The classical dance forms recognised by the Sangeet Natak Akademi and the Ministry of Culture
are:

 Bharatanatyam, from Tamil Nadu

 Kathak, from Uttar Pradesh
 Kathakali, from Kerala
 Kuchipudi, from Andhra Pradesh
 Odissi, from Odisha
 Sattriya, from Assam
 Manipuri, from Manipur
 Mohiniyattam, from Kerala

Contemporary classical dance forms have evolved out of the musical play or sangeet-nataka
performed from the 12th century to the 19th century. The Indian classical dances have two basic
aspects - Tandava (movement & rhythm) and Lasya (grace, bhava & rasa).
The three main components are-
o Natya (the dramatic element of the dance i.e. the imitation of characters)

o Nritta (the dance movements in their basic form)

o Nritya (expressional component i.e. mudras or gestures).

 The nine rasas are - Love, Heroism, Pathos, Humour, Anger, Fear, Disgust, Wonder and
Peace. The Natya Shastra written by Bharat Muni is the most prominent source for the
Indian aestheticians for establishing the characteristics of the dances.
 Classical Dances of India
Bharatnatyam (Tamil Nadu)

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 Bharatnatyam dance is known to be ekaharya, where one dancer takes on many roles in

a single performance.
 The dance involves transitional movements of leg, hip and arm. Expressive eye
movements and hand gestures are used to convey emotions.
 The accompanying orchestra consists of a vocalist, a mridangam player, violinist or
veena player, a flautist and a cymbal player. The person who conducts the dance recitation is
the Nattuvanar.
 Bharatnatyam poses are depicted on the gopurams of the Chidambaram temple (Tamil
Nadu).
Kathak (North India)

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 The word Kathak has been derived from the word Katha which means a story.
 It was primarily a temple or village performance wherein the dancers narrated stories
from ancient scriptures.
 Kathak began evolving into a distinct mode of dance in the fifteenth and sixteenth
centuries with the spread of the bhakti movement.
 Under the Mughal emperors and their nobles, Kathak was performed in the court, where
it acquired its present features and developed into a form of dance with a distinctive style.
 Usually a solo performance, the dancer often pauses to recite verses followed by their
execution through movement.
 The focus is more on footwork; the movements are skillfully controlled and performed
straight legged by dancers wearing ankle-bells.

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 Kathak is the only form of classical dance wedded to Hindustani or the North Indian
music.
 Lady Leela Sokhey (Menaka) revived the classical style. Some prominent dancers
include Birju Maharaj, Sitara Devi.
Kathakali (Kerala)

 Kathakali is a blend of dance, music and acting and dramatizes stories, which are mostly
adapted from the Indian epics.
 Heavy make-up and stunning costumes (elaborate masks, huge skirts and big head-
dresses) are used.
 The dancers enact the roles (kings, gods, demons etc.) of the stories with particular make-
up and costume, the vocalists narrate the legend and the percussionists play the musical
instruments.
 Different facial colours indicate different mental stages & character, e.g. green – nobility,
black – wicked, red patches – combining royalty & evil.
 Hand gestures, facial expressions and eye movements are important.
 Weight of the body is on the outer edges of the feet which are slightly bent and curved.
 Ramankutty Nair and Kalamandalam Gopi were the prominent artists.
Kuchipudi (Andhra Pradesh)

 Kuchipudi is the name of a village in the Krishna district of Andhra Pradesh which has a
very long tradition of dance-drama. It was known under the generic name of Yakshagaana.

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 It is performed as dance drama i.e. performance in groups and also as solo items.
 Costumes, ornaments and jewellery occupy an important place.
 The solo items are Manduka Shabdam (story of frog maiden), Balgopala Taranga (dance
on the edges of brass plate with a pitcher full of water on head) and Tala Chitra Nritya
(drawing pictures with dancing toes).
 Yamini Krishnamurthy and Raja Reddy are prominent dancers.
Mohiniyattam (Kerala)

Mohiniyattam or dance of Mohini (an incarnation of Lord Vishnu) is the classical solo dance
form of Kerala.
 Mostly a solo performance by girls with circular movements, delicate footsteps and
subtle expressions.
 It has elements of Bharatanatyam (grace & elegance) and Kathakali (vigour) but is more
erotic, lyrical and delicate.
 Realistic make-up and simple dressing (in Kasavu saree of Kerala) are used.
 Sunanda Nair and Pallavi Krishnan are the notable artists.
Odissi (Odisha)

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 The major subjects of performance are lores of incarnations of Lord Vishnu and verses of
Jayadeva’s Gita Govinda.
 A soft dance backed by soothing lyrics and is similar to Bharatanatyam in terms of the
mudras and expressions.
 Termed as ‘mobile sculpture’ it incorporates two major postures - Tribhanga (the body
is deflected at the neck, torso and the knees) and Chowk (a position imitating a square).
 Sonal Mansingh and Kelucharan Mohapatra are the eminent performers.
Sattriya (Assam)

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 The Sattriya dance form was introduced in the 15th century A.D

 Because of its religious character and association with the Sattras (Vaishnava maths or
monasteries), this dance style has been named Sattriya.
 Sattriya dance tradition is governed by strictly laid down principles in respect of
hastamudras, footworks, aharyas, music etc.
Manipuri (Manipur)

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 The origin of Manipuri dance can be traced back to ancient times that go beyond
recorded history.
 The dance in Manipur is associated with rituals and traditional festivals, there are
legendary references to the dances of Shiva and Parvati and other gods and goddesses who
created the universe.
 Lai Haraoba is the earliest form of dance which forms the basis of all stylised dances in
Manipur. 
o Literally meaning - the merrymaking of the gods, it is performed as a ceremonial
offering of song and dance.
o The principal performers are the maibas and maibis (priests and priestesses) who
re-enact the theme of the creation of the world.
 The popular Rasleela dances of Manipur originated in the reign of 18 th century King
Bhagyachandra
 The Kirtan form of congregational singing accompanies the dance which is known as
Sankirtana in Manipur.
o The male dancers play the Pung and Kartal while dancing.

 The dancers do not wear ankle bells to stamp out the rhythms in a theatrical display, as
this interferes with the delicate body movements.

All major classical Indian dance forms include , three categories of performance in the Natya
Shastra. These are Nritta, Nritya and Natya:

 The Nritta performance is an abstract, fast and rhythmic aspect of the dance. The viewer

is presented with pure movement, wherein the emphasis is the beauty in motion, form, speed,
range and pattern. This part of the repertoire has no interpretative aspect, no telling of the
story. It is a technical performance, and aims to engage the senses (Prakriti) of the audience.
 The Nritya is slower and expressive aspect of the dance that attempts to communicate
feelings, storyline particularly with spiritual themes in Hindu dance traditions. In a Nritya,
the dance-acting expands to include silent expression of words through gestures and body
motion set to musical notes. The actor articulates a legend or a spiritual message. This part of
the repertoire is more than sensory enjoyment, it aims to engage the emotions and mind of
the viewer.

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 The Natyam is a play, typically a team performance, but can be acted out by a solo

performer where the dancer uses certain standardized body movements to indicate a new
character in the underlying story. A Natya incorporates the elements of a Nritya.
All classical dances of India used similar symbolism and rules of gestures in abhinaya (acting).
The roots of abhinaya are found in the Natyashastra text which defines drama. A performance
art, asserts Natyashastra, connects the artists and the audience through abhinaya (literally,
"carrying to the spectators"), that is applying body-speech-mind and scene, wherein the actors
communicate to the audience, through song and music. Drama in this ancient Sanskrit text, this is
an art to engage every aspect of life, to glorify and gift a state of joyful consciousness.
The communication through symbols is in the form of expressive gestures (mudras or hastas) and
pantomime set to music. The gestures and facial expressions convey the ras(sentiment, emotional
taste) and bhava (mood) of the underlying story. In Hindu classical dances, the artist successfully
expresses the spiritual ideas by paying attention to four aspects of a performance:

 Angika (gestures and body language),

 Vachika (song, recitation, music and rhythm),
 Aharya (stage setting, costume, make up, jewelry),
 Sattvika (artist's mental disposition and emotional connection with the story and
audience, wherein the artist's inner and outer state resonates).
 Abhinaya draws out the bhava (mood, psychological states).

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Music
Music of India

Images of musical instruments drawn by Pierre Sonnerat, the French explorer, in 1782 during his
voyage through India

Music is an integral part of India's culture. Natyasastra, a 2000-year-old Sanskrit text, describes

five systems of taxonomy to classify musical instruments. One of these ancient Indian systems
classifies musical instruments into four groups according to four primary sources of vibration:
strings, membranes, cymbals, and air. According to Reis Flora, this is similar to the Western
theory of organology. Archeologists have also reported the discovery of a 3000-year-old, 20-key,
carefully shaped polished basalt lithophone in the highlands of Odisha.

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Group of Dharohar folk musicians performing in Mehrangarh Fort, Jodhpur, India

The oldest preserved examples of Indian music are the melodies of the Samaveda (1000 BC) that
are still sung in certain Vedic Śrauta sacrifices; this is the earliest account of Indian musical
hymns.[146] It proposed a tonal structure consisting of seven notes, which were named, in
descending order, as Krusht, Pratham, Dwitiya, Tritiya, Chaturth, Mandra and Atiswār. These
refer to the notes of a flute, which was the only fixed frequency instrument. The Samaveda, and
other Hindu texts, heavily influenced India's classical music tradition, which is known today in
two distinct styles: Carnatic and Hindustani music. Both the Carnatic music and Hindustani
music systems are based on the melodic base (known as Rāga), sung to a rhythmic cycle (known
as Tāla); these principles were refined in the nātyaśāstra (200 BC) and the dattilam (300 AD).

The current music of India includes multiple varieties of religious, classical, folk, filmi, rock and
pop music and dance. The appeal of traditional classical music and dance is on the rapid decline,
especially among the younger generation.
Prominent contemporary Indian musical forms included filmi and Indipop. Filmi refers to the
wide range of music written and performed for mainstream Indian cinema, primarily Bollywood,
and accounts for more than 70 percent of all music sales in the country. Indipop is one of the
most popular contemporary styles of Indian music which is either a fusion of Indian folk,
classical or Sufi music with Western musical traditions.

STYLES AND TYPES OF INDIAN MUSIC

 There are two main schools of Indian classical music: the Hindustani style of the North and the
Karnatak (also spelled Karnatak and Karanatic) of the South. The Hindustani style features a
number of Turko-Persian musical elements not found in the more varied and, in some ways,
complex Karnatak style. Well-known Hindustani styles include Dhrupad, Dhamar, Khayal,
Tappa and Thumri.
 A gharana (literally meaning "extended family") is a school of music. Certain ones have good
reputations. Gharanas are more like philosophical schools than formal institutions. There are

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ones for singing and various instruments and they often distinguished by style and mode of
thought. They have usually been founded by famous musicians.
 Traditionally musical traditions have been passed on orally and musical skills have often been
taught from father to son or teacher to pupil. Students pay respect to their instructors by kissing
their feet. The relationship between teachers (known as pandits and gurus among Hindus
and ustaad among Muslims) and their pupils is very important in Indian music. Teachers and
pupils are often related, and the spiritual element of the instrument is often as important as
technical virtuosity. In northern India, the spiritual relationship is symbolized by a ceremony in
which a teachers ties a string around the wrist of a pupil.
 Some styles of Indian music are associated with a specific faith. Bhajans and kirtis, for example,
are Hindu devotional songs; and qawali is a form rooted in Sufi Islam. As a rule Hindu styles are
performed by Hindu performers and Islamic styles are performed by Muslim performers.

Hindustani Music
 Hindustani Music is the term used to describe the music of northern India, which is regarded by
many people as true Indian music. Influenced by music from Persia and Central Asia, it also
refers to vocal styles mentioned below: dhrupad, khyal, dadra and thumri. Music from southern
India. features shorter pieces without the long, slow tempo phases. Even though it is less well
known in the West it arguably is more accessible to Western ears.
 Music from the north can be divided into two types: 1) classical and 2) light classical (also
referred to as semi-classical). The classical form requires stricter adherence to the raga formula
while light classical allows more opportunities for deviations and does not require the intense
concentration that classical Indian music requires.

Karnatak
 Karnatak (also spelled Karnatak and Karanatic) is the classical music of southern India. It is
similar to Hindustani classical music except it is freer and has a more positive and upbeat mood
that reflects a lack of influence of music from Persia and Central Asia and the fact it has
remained close to its Hindu origins. Purandara Dasa is regarded as the Father of Karnatak music.
 The structure of Karnatak is similar to that of Hindustani music. Both have ragas (in Karnatak
they are called ragams) but the rhythms, musical instruments and melodies used in Karnatak are
different from those used in Hindustani.

Dhrupad
 Dhrupad is the most austere form of classical singing and playing. Closely connected to the
famous Mughal singer Tansen, it is a northern Indian style that features a straight delivery and no
embroidery or embellishment. Singers are accompanied by a tanpura and pakhawaj barrel drum.

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Khayal and Thumri

 Khayal (also spelled khyal, derived rom a Persian word meaning "imagination") is a form of
classical singing that is less austere and more popular today than Dhrupad. It features elaborate
embroidery and embellishments The singer begins with a short alaap in which the characteristics
of the raga are developed. No words are sung: the singer concentrates on the notes of the raga
while improvising within its structures. Each phase that the singer sings may repeated by the
accompanist.
 Thumri is another fixture of Hindustani light classical music. Created by Nawab Ali Shah, who
governed Lucknow from 1847 to 1856, it is an emotional song style known for its graceful,
lyrical melodies. It s regarded as more accessible than dhrupad or khayal and features ragas and
taals usually associated with kathak dance. Dadri, Hori, Chaiti, Kajri and Jhool are sub genres of
Thumri.

Hindu Devotional Music

 Bhajans are forms of devotional songs that are especially popular in northern India. They often
honor a particular deity or recall an episode from Hindu mythology. Pilgrims chant them at
festivals and along the banks of the Ganges. They are chanted by worshipers at temples. Many of
the compositions date back to the period of the Hindu reformation in A.D. first millennium,
when Hinduism reestablished itself after a period when Buddhism was dominant. Bhajans have
also been influenced by Sufi devotional music.
 Kriti is the most important from of devotional music from southern India. Often based on
religious text and performed at temples, it pantheon of deities. . Other vocal styles associated
with southern India include bhajan (Hindu devotional love songs), ragamalika (a series of ragas),
or thirupugazh. .

Ghazal
 A ghazal is a light style of classical Persian love music adored by the Mughals. Originally more
of a poetic than musical form, the name is derived from an Arabic word meaning "to talk
amorously to women." Although sometimes referred to as the Urdu equivalent of khayal, it is
based as often on folk melodies as on ragas. The lyrics are often taken from famous Urdu poems.
Famous ghazal singers are mostly women. They include Shabha Urtu, Najma Akhtar and Begum
Akhtra (1914-1974).
 Ghazals are also performed in Central Asia, Iran and Turkey. In India they often heard on the
radios or in films popular in northern India. But they are most often associated with court music
from the Mughal Golden Age.

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Sufi Devotional Music

 Sufism is a kind of mystical Islam in followers sometimes go into trancelike states. Sufi spiritual
music is often highly-syncopated and hypnotic. One Sufi dancer said, "The music takes you over
completely. It's a healing thing." The union of the body, spirit and music lies at the heart of
Sufism. Sufis believe: "Music is the food of the spirit; when the spirit receives food, it turns aside
from the government of the body."
 Sufis are credited with keeping the spirit of music alive in the Muslim world while orthodox
Muslims tried to stamp it out. Sufis traditionally criticized those who criticized music. According
to 9th-century Baghdad philosopher Abu Suliman al-Darani Sufis believe that "music and
singing do not produce in it that which is not in it" and music "reminds the spirit of the realm for
which it constantly longs."

Qawwali Music
 Qawwali is a kind of Sufi devotional music with a high-pitched and fast-paced stye of singing. It
developed in the 13th century when Sufism was becoming popular on the Indian
subcontinent. Qawwali literally means "philosophical utterance" in Arabic and has come to mean
performing Sufi poetry to music. Qawwali songs are based on devotional Sufi poems and often
have romantic themes that can be interpreted as love between a devotee and his God or between
a man and a woman.

Qawwali Songs
 Qawwali songs tend to be long and have a structure and organization similar to that of northern
Indian music. They feature a singing melodic line supported by drones and rhythms. A typical
qawwali song features "solo verses punctuated by a choral refrain and instrumental interludes."
Qawwali songs also feature "a steady, accelerating beat, a refrain that is repeated with increased
passion” and “ a voice that roses to joyful, inspired testimonials of faith.

Folk Music in India

 There are almost as many different kinds of folk music in India, Pakistan and Bangladesh as
there are ethnic groups and cultures. The most well known styles come from Uttar Pradesh,
Rajasthan, the Punjab and Bengal. Bengal has a rich tradition of religious folk music, especially
associated with Sufism among Muslims and with the devotional worship of Krishna and the
goddess Kali among Hindus. Dogri love songs from the Jammu hills and chants from Uttar
Pradesh have done well on the World Music charts.
 Folk music is often called Desi. It has traditionally been associated with events from everyday
life and is often performed at festival and life-cycle events such as marriages and births.

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Bhangra
 Bhangra is a funky, beat-driven style of Punjabi folk dance music. Popular in India and Pakistan
and among South Asians in Britain and the United States, it combines traditional Punjabi drum-
and-percussion music of field workers with Western dance music "in every-shifting East-West
hybrids.” It is know for driving, danceable rhythms, ecstatic singing and goofy keyboard riffs.

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Indian painting 

Indian painting has a very long tradition and history in Indian art. The earliest Indian paintings
were the rock paintings of pre-historic times, the petroglyphs as found in places like Bhimbetka
rock shelters, some of the Stone Age rock paintings found among the Bhimbetka rock shelters
are approximately 10,000 years old.
 Mughal painting represented a fusion of the Persian miniature with older Indian traditions, and
from the 17th century its style was diffused across Indian princely courts of all religions, each
developing a local style. Company paintings were made for British clients under the British raj,
which from the 19th century also introduced art schools along Western lines, leading to modern
Indian painting, which is increasingly returning to its Indian roots.
Indian paintings provide an aesthetic continuum that extends from the early civilization to the
present day. Indian painting has evolved over the years to become a fusion of various cultures
and traditions.

These 'Six Limbs' have been translated as follows:

1. Rupabheda The knowledge of appearances.

2. Pramanam Correct perception, measure and structure.
3. Bhava Action of feelings on forms.
4. Lavanya Yojanam Infusion of grace, artistic representation.
5. Sadrisyam Similitude.
6. Varnikabhanga Artistic manner of using the brush and colours. (Tagore.)
The subsequent development of painting by the Buddhists indicates that these ' Six Limbs ' were
put into practice by Indian artists, and are the basic principles on which their art was founded.

Painting of Mysore style during Tippu Sultan period

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Indian paintings can be broadly classified as murals and miniatures. Murals are large works
executed on the walls of solid structures, as in the Ajanta Caves and the Kailashnath
temple. Miniature paintings are executed on a very small scale for books or albums on perishable
material such as paper and cloth. The Palas of Bengal were the pioneers of miniature painting in
India. The art of miniature painting reached its glory during the Mughal period. The tradition of
miniature paintings was carried forward by the painters of different Rajasthani schools of
painting like the Bundi, Kishangarh, Jaipur, Marwar and Mewar.
Rock art
The oldest Indian paintings are rock art in caves which are around 10,000 years old, such as
the Bhimbetka cave paintings.
Murals

A mural painting depicting a scene from Mahajanaka Jataka, Cave 1, Ajanta

Western Indian Miniature Painting
Miniature paintings are beautiful handmade paintings, which are quite colorful but small in size.
The highlight of these paintings is the intricate and delicate brushwork, which lends them a
unique identity. The colors are handmade, from minerals, vegetables, precious stones, indigo,
conch shells, pure gold and silver. The evolution of Indian Miniatures paintings started in the
Western Himalayas, around the 17th century
Mughal painting

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Mughal painting is a style of Indian painting, generally confined to illustrations on the book and
done in miniatures, and which emerged, developed and took shape during the period of
the Mughal Empire between the 16th and 19th centuries. The Mughal style was heavily
influenced by Persian miniatures, and in turn influenced several Indian styles, including
the Rajput, Pahari and Deccan styles of painting.

Malwa, Deccan and Jaunpur schools of painting

Al-Buraq depicted in the Deccan style, emblematic of the Deccan's cosmopolitanism. The visual

traditions of Central Asia and Iran are expressed, but at the center is the elephant that is native to
India.
Rajput painting

An 18th-century Rajput painting by the artist Nihâl Chand

Rajput painting, a style of Indian painting, evolved and flourished, during the 18th century, in the
royal courts of Rajputana. Each Rajput kingdom evolved a distinct style, but with certain
common features. Rajput paintings depict a number of themes, events of epics like
the Ramayana and the Mahabharata, Krishna's life, beautiful landscapes, and humans.
The colours extracted from certain minerals, plant sources, conch shells, and were even derived
by processing precious stones, gold and silver were used. The preparation of desired colours was
a lengthy process, sometimes taking weeks. Brushes used were very fine.

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Mysore painting
Mysore painting is an important form of classical South Indian painting that originated in the
town of Mysore in Karnataka. These paintings are known for their elegance, muted colours and
attention to detail. The themes for most of these paintings are Hindu Gods and Goddesses and
scenes from Hindu mythology. In modern times, these paintings have become a much sought-
after souvenir during festive occasions in South India.
Tanjore painting

Tanjore style painting depicting the ten Sikh Gurus with Bhai Bala and Bhai Mardana.

Tanjore painting is an important form of classical South Indian painting native to the town
of Tanjore in Tamil Nadu. The art form dates back to the early 9th century, a period dominated
by the Chola rulers, who encouraged art and literature. These paintings are known for their
elegance, rich colours, and attention to detail. The themes for most of these paintings
are Hindu Gods and Goddesses and scenes from Hindu mythology. In modern times, these
paintings have become a much sought-after souvenir during festive occasions in South India.

Pattachitra
Pattachitra refers to the Classical painting of Odisha and West Bengal, in the eastern region of
India.'Patta' in Sanskrit means 'Vastra' or 'clothings' and 'chitra' means paintings.

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Patachitra of Naya village

Goddess Durga and his family in Medinipur Patachitra

Manasa in Kalighat Patachitra

The Bengal Patachitra
The Bengal Patachitra refers to the painting of West Bengal. It is a traditional and mythological
heritage of West Bengal. The Bengal Patachitra is divided into some different aspects like Durga
Pat, Chalchitra, Tribal Patachitra, Medinipur Patachitra, Kalighat Patachitraetc,

Gita Govinda depicted in Pattachitra

Other regional styles
Pahari painting and Madhubani Painting

Krishna and Radha in a Pavillion, 18th century, Pahari style.

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The Pahari style developed and flourished during 17th to 19th centuries stretching

from Jammu to Almora and Garhwal, in the sub-Himalayan India, through Himachal Pradesh.
Madhubani painting is a style of painting, practiced in the Mithila region of Bihar state. Themes
revolve around Hindu Gods and mythology, along with scenes from the royal court and social
events like weddings.
Early Modern Indian painting

Galaxy of Musicians by Raja Ravi Varma, oil on canvas.

Radha and Krishna by M. V. Dhurandhar, oil on canvas.

Raja Ravi Varma was a pioneer of modern Indian painting. He drew on Western traditions and
techniques including oil paint and easel painting, with his subjects being purely Indian, such as
Hindu deities and episodes from the epics and Puranas.

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Bharat Mata by Rbanindranath Tagore (1871–1951), a personification of India.

Post Independence (1947― present)

Bengal Women by Manishi Dey

 Modern Indian painting
During the colonial era, Western influences started to make
an impact on Indian art. Some artists developed a style that
used Western ideas of composition, perspective and realism
to illustrate Indian themes. Others, like Jamini Roy,
consciously drew inspiration from folk art. Bharti Dayal has
chosen to handle the traditional Mithila Painting in most
contemporary way and uses both realism as well
abstractionism in her work with a lot of fantasy mixed in to
both .Her work has an impeccable sense of balance, harmony
and grace.
By the time of Independence in 1947, several schools of art
in India provided access to modern techniques and ideas.
Galleries were established to showcase these artists. Modern
Indian art typically shows the influence of Western styles, but is often inspired by Indian themes
and images. Major artists are beginning to gain international recognition, initially among the
Indian diaspora, but also among non-Indian audiences.

Vernacular Indian Painting

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Ladoo Bai (Bhil artiste)

Vernacular art is an art alive (contemporary art), based on the past (the myths, the traditions and
the religion) and made by defined groups. Vernacular art is based on the collective memory of
this group.
Examples of Vernacular Indian Painting:
Tribal Painting:

 Bhil painting
 Warli painting
 Gond painting
 Santhal painting
 Saora painting
 Kurumba painting
Rural Painting:

 Pattachitra painting
 Madhubani painting
 Kalamkari painting
 Kolam painting
 Kalam painting
 Mandana Paintings

Art has had a very long life in India. It is still in its momentum. From the cave paintings of the
pre-historic times to the contemporary creations of today, it has come a long way and matured
gracefully.

Who would deny the mesmerism present in the paintings of the Ajanta Caves, in the artwork of
Raja Ravi Verma, or even in a modern-day Hussain? This game of colours is an incredible craft,
which is difficult to fathom. Maybe that’s why we call it ‘gandharva vidya’ – a knowledge which
can never be forcefully imparted.

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Now, India of the 1st century BC had seen the evolution of the ‘Sadanga’ or the Six Limbs of
painting, which are considered as the prime principles of the art even today. So strong were these
principles, that they have found a place even in Vatsyayana’s Kamasutra. The Six Limbs are:

“Roopabhedah pramanani bhava-lavanya-yojanam |

Sadrishyam varnakabhangam iti chitram shadakam ||”

 Roopbheda – The knowledge of looks and appearances.

‘Roopa’ means the outer form or appearance of the subject. The perception is visual as well as
mental. ‘Bheda,’ on the other hand, means difference. In other words, to create a painting, an
artist needs to have a sound knowledge about the different forms that exist. He has to know how
a form of life differs from a form of death. Both have their own characteristic features and
sublimity.

‘Roopabheda’ enables an artist to perceive and depict things as they appear. Of course, this
knowledge cannot depend solely on the power of sight. Experience is as much important as the
former.

 Pramanani – Accuracy and precision of measurement and structure.

This principle is governed by certain laws, which give us the capability of proving the
correctness of our perception and delineation. ‘Pramamani’ teaches us the exact measure,
proportion and distance of the subjects. It provides an insight into the structural anatomy of
objects, too

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 Bhava – The feelings on forms.

‘Bhava’ means an emotion, a feeling, an intention, or an idea. This aspect of art is depicted in the
form of feelings expressed by the subject.

 Lavanya Yojanam – Blending grace in an artistic representation.

Your painting should be gracefully high in its artistic quality. The pramanani is for stringent
proportions, and bhava is for expressing movement. But, lavanya yojanam is for controlling the
over-expression of both. The motive is to bring about a sense of beauty in a dignified and
organised manner

 Sadrisyam or Resemblance.

This is perhaps the most challenging task of creating a painting. Sadrisyam suggests the degree
to which a depiction is similar to an artist’s vision or the subject itself. In a way, it is also a way
of depicting similitude

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 Varnakabhangam - An artistic way of making use of the brush and colours.

The term translated means the way a subject is being drawn and coloured. So, obviously, there
shall be the use of brush and pigments. What this principle focuses on, is the way the strokes are
being applied to a canvas, and the knowledge of the artist about the different colours.

Wrap up:

The Sadanga is an inevitable part of every great Indian masterpiece. From the ancient paintings
of Ajanta to those created by Raja Ravi Verma, and Hussain of today, you will observe that
every notable artist has silently put to use all the six principles. And, it is only when you have
known inside out, these prime principles, can you become an artist in every true sense.

They are used to organize the basic elements of art: line, shape, form, value, color, space, and
texture. They are sometimes also referred to as principles of organization or design principles.
...
The Principles of Art

 balance.
 proportion.
 emphasis.
 variety.
 movement.
 rhythm.
 harmony.

These are line, shape, color, value, form, texture, and space. The principles of art represent how
the artist uses the elements of art to create an effect and to help convey the artist's intent.
The principles of art and design are balance, contrast, emphasis, movement, pattern, rhythm,
and unity/variet

The Elements of Art

 Line. point that moves through space.

 space. 3 dimensional volume that can be empty or filled. ...
 shape. geomteric or free form (organic). ...
 form. describes volume and mass. ...
 color. depends on reflected light and hue. ...
 value. refers to dark and light qualities of those colors.
 pattern. ...
 texture.

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