[03/05/23, 10:52:43 PM] Kushal Lunkad: *INDIAN AESTHETICS*

[03/05/23, 10:52:54 PM] Kushal Lunkad: CHITRASUTRA - The PDF is an article from the Artistic Narratio
n journal about the paintings at Ajanta and the Chitrasutra treatise.
- The Jataka stories painted on the walls of Ajanta depict a variety of subject matter, giving painters ample
scope to depict the entire canvas of life on earth.
- The virtuous qualities recounted by Buddha are magnificently woven together in these paintings, and ea
ch Jataka painted has a different narration and individual stylistic quality.
- Painting was an act of devotion for these artists, and even preparing the paints to be used on the walls
would take weeks, requiring sincere dedication.
- The Chitrasutra treatise provides exhaustive details on painting guidelines, including methods used in re
ndering different kinds of people, animals, and landscapes; three different ways of carrying out shading; in
structions on techniques of how to use colors; and even the process of their preparation.
- Artistic Narration is a peer-reviewed journal showcasing visual and performing arts.
[03/05/23, 10:53:32 PM] Kushal Lunkad: THE RASA THEORY
- Rasa Theory is a central concept in Indian aesthetics that explains the emotional response that art evok
es in an audience.
- The term "rasa" means "juice" or "essence" and refers to the emotional essence of a work of art.
- According to Rasa Theory, there are nine rasas or emotional states: love, humor, heroism, wonder, peac
e, sadness, anger, fear, and disgust.
- Each rasa is associated with a specific color, musical note, and deity.
- The creation of rasa involves four elements: vibhava (stimulus), anubhava (response), vyabhicaribhava (
transitory emotions), and sthayibhava (dominant emotion).
- Vibhava refers to the stimulus that evokes an emotion in the audience. It can be external or internal to th
e character.
- Anubhava refers to the response of the character to the stimulus. It can be expressed through facial exp
ressions, gestures, or dialogue.
- Vyabhicaribhava refers to transitory emotions that arise during the course of a work of art. They can be
physical sensations or mental states.
- Sthayibhava refers to the dominant emotion that is sustained throughout a work of art. It is usually assoc
iated with one of the nine rasas.
- The creation of rasa involves a process called samyoga or union between vibhava and anubhava. This u
nion creates an emotional experience for the audience.
- Rasa Theory has been applied to different forms of art such as music, dance, and drama.
- Rasa Theory has been criticized for being too formulaic and limiting artistic expression. However, it rema
ins a fundamental concept in Indian aesthetics.
[03/05/23, 10:55:07 PM] Kushal Lunkad: BHAVAS - 4 BHAVAS THAT CREATE THE RASAS

- Bhavas are emotions or mental states that are evoked in an audience through a work of art.
- According to Bharata, an ancient Indian scholar, there are eight primary bhavas or emotions:
1. Rati (love)
2. Hasya (humor)
3. Shoka (sorrow)
4. Krodha (anger)
5. Utsaha (enthusiasm)
6. Bhaya (fear)
7. Jugupsa (disgust)
8. Vira (heroism)
- In addition to these eight primary bhavas, there are forty-one secondary bhavas that arise from combinat
ions of the primary ones.
- The creation of rasa involves four elements: vibhava (stimulus), anubhava (response), vyabhicaribhava (
transitory emotions), and sthayibhava.
- Vibhava is the situation or stimulus that is responsible for bringing out sthayibhavas or dominant emotion
s.
- Anubhava refers to the effect that is seen upon the character after emotions have been developed.
- Vyabhicaribhavas are transitory mental states that arise during the course of experiencing a permanent
mood or sthayibhava.
- Sthayibhavas are the dominant emotions or permanent moods that form the basis of rasa or emotional e
ssence in a work of art.
- The concept of bhavas has been used extensively in Indian aesthetics and remains an important aspect
of creating emotional experiences through art.
[03/05/23, 10:55:40 PM] Kushal Lunkad: VIBHAVA
- Vibhava is a term used in Indian aesthetics to refer to the situation or stimulus that is responsible for brin
ging out sthayibhavas or dominant emotions.
- Vibhava has two aspects: alambana and uddipana.
- Alambana vibhavas are the situations or stimuli that exist in the mind of the person to which sthayibhava
s begin. For example, in the case of rati sthayibhava (the dominant emotion of love), the beloved is the al
ambana. She is responsible for arousing the emotion of love.
- Uddipana vibhavas are exciting situations that help to intensify or sustain sthayibhavas. For example, in
the case of rati sthayibhava, spring season, moonlit night, soft breezes, and fragrance of flowers are uddi
pana vibhavas.
- Vibhava plays a crucial role in creating rasa or emotional essence in a work of art. It helps to evoke emo
tions in an audience by creating a connection between them and the characters on stage.
- Vibhava can be internal or external to a character. Internal vibhava refers to emotions that arise within a
character due to their own thoughts and feelings. External vibhava refers to events or situations that happ
en outside of a character but affect them emotionally.
- The use of vibhava can vary depending on the form of art being created. For example, music may use di
fferent types of instruments as vibhavas while dance may use different types of movements as vibhavas.
- The concept of vibhava has been used extensively in Indian aesthetics and remains an important aspect
of creating emotional experiences through art.
[03/05/23, 10:56:04 PM] Kushal Lunkad: ANUBHAVA
- Anubhava is a term used in Indian aesthetics to refer to the effect that is seen upon the character after e
motions have been developed.
- Bharatamuni, an ancient Indian scholar, explains that anubhava is so called because it makes the spect
ators feel or experience the effect of abhinaya (acting) by means of words and gestures.
- Anubhava refers to the physical and emotional responses of characters on stage to vibhavas or stimuli. I
t can be expressed through facial expressions, gestures, or dialogue.
- Anubhava helps to create a connection between characters on stage and the audience by evoking emoti
ons in them.
- There are two types of anubhavas: sattvika and angika.
- Sattvika anubhavas are involuntary physical reactions that arise due to intense emotions. They include tr
embling, sweating, tears, and fainting.
- Angika anubhavas are physical expressions of emotion through gestures and movements. They include
facial expressions, hand gestures (mudras), and body postures (abhinaya).
- The use of anubhava can vary depending on the form of art being created. For example, dance may use
more angika anubhavas while drama may use more sattvika anubhavas.
- Anubhava plays a crucial role in creating rasa or emotional essence in a work of art. It helps to evoke e
motions in an audience by creating a connection between them and the characters on stage.
- The concept of anubhava has been used extensively in Indian aesthetics and remains an important asp
ect of creating emotional experiences through art.
[03/05/23, 10:56:42 PM] Kushal Lunkad: VYABICARIBHAVAS
- Vyabhicaribhavas are transitory mental states that arise during the course of experiencing a permanent
mood or sthayibhava.
- They are also known as Sanchari Bhavas or transitory emotions.
- Although they are mental states, they may be acted out in a manner so as to make others know about th
eir occurrence.
- Vyabhicaribhavas can be physical sensations or mental states that arise due to external stimuli or intern
al thoughts and feelings.
- There are eight vyabhicaribhavas:
1. Nirveda (disgust)
 2. Glani (fatigue)
3. Shanka (apprehension)
4. Asuya (envy)
5. Udvega (anxiety)
6. Vrida (shame)
7. Vitarka (deliberation)
8. Chinta (worry)
- The use of vyabhicaribhavas can vary depending on the form of art being created. For example, drama
may use more verbal expressions of vyabhicaribhavas while dance may use more physical expressions.
- Vyabhicaribhavas play a crucial role in creating rasa or emotional essence in a work of art. They help to
evoke emotions in an audience by creating a connection between them and the characters on stage.
- The concept of vyabhicaribhavas has been used extensively in Indian aesthetics and remains an import
ant aspect of creating emotional experiences through art.
[03/05/23, 11:00:09 PM] Kushal Lunkad: STHAYIBHAVAS
1. Sthayibhavas are permanent or dominant moods that are made manifest within the heart of man of tast
e by the reading of kavya or the witnessing of a dramatic performance

2. There are eight sthayibhavas: rati (love), hasya (gaiety), soka (sorrow), krodha (anger), utsaha (enthusi
asm), bhaya (fear), jugupsa (repugnance), and vismaya (wonder

3. A ninth sthayibhava, nirveda (passiveness), has been added by Abhinavagupya and Anandvardhana

4. The sthayibhavas are connected respectively with the following sentiments (rasa): shringara, hasya, ka
runa, vira, bhayanaka, bibhatsa, adbhuta, and santa

5. The sthayibhavas are the basis of rasa and are supreme among all the bhavas, which are forty-nine in
number

6. The sthayibhava constitutes the principal theme of a composition and runs through all other emotions li
ke the thread of a garland and cannot be overpowered by
[03/05/23, 11:00:55 PM] Kushal Lunkad: *WESTERN AESTHETICS*
[03/05/23, 11:01:17 PM] Kushal Lunkad: DEFINITION OF AESTHETICS - Aesthetics is the philosophical
study of the nature of art, beauty, and taste

- The term "aesthetics" was derived from the Greek word aisthetikos, meaning "esthetic, sensitive, sentien
t

- The modern usage of the term "aesthetics" was coined by a German philosopher called Alexander Bau
mgarten in 1735

Relation to the Study of Art and Beauty

- Aesthetics involves two issues: (1) definitions of art and (2) responses to art

- Aesthetics deals not only with the nature and value of the arts but also with those responses to natural o
bjects that find expression in the language of the beautiful and the ugly

- Aesthetics is broader in scope than the philosophy of art, which comprises one of its branches

- Aesthetics involves the knowledgeable appreciation of art, an enquiry toward art for purposes of examin
ation, refinement, and elaboration

- Aesthetics is applicable to all age groups and all levels of readiness simply because aesthetics is the stu
dy of how humans relate and give meaning to a particular type of phenomenon (art) in their environment.
[03/05/23, 11:01:17 PM] Kushal Lunkad: NATURE OF AESTHETICS - The nature of aesthetics is the phil
osophical study of the nature of art, beauty, and taste. It deals not only with the nature and value of the art
s but also with those responses to natural objects that find expression in the language of the beautiful and
the ugly. Aesthetics involves the knowledgeable appreciation of art, an inquiry toward art for purposes of
examination, refinement, and elaboration. Aesthetics is broader in scope than the philosophy of art, which
comprises one of its branches. Aesthetics reaches beyond art to nature and perhaps to the nuances of a
larger picture of sensory awareness. Aesthetics is not the same thing as art history or criticism. Aesthetics
depends on facts from art history, on observations about perception and how we know through our sense
s, and on reflections on the language that we use to talk about both art and our responses to it.
[03/05/23, 11:01:17 PM] Kushal Lunkad: THREE APPROACHES TO AESTHETICS - The three approach
es to aesthetics are

1) The approach based on the study of beauty and the sublime: This approach is based on the study of th
e concepts of beauty and the sublime. Edmund Burke’s distinction between the two concepts is an examp
le of this approach. According to Burke, beauty is derived from pleasure, while sublimity is derived from p
ain. This approach focuses on the physiological effects of beauty and sublimity on the perceiver

2) The approach based on the study of certain states of mind: This approach is based on the study of the
responses, attitudes, and emotions involved in aesthetic experience. Immanuel Kant’s Critique of Judgme
nt is an example of this approach. Kant argues that aesthetic judgments must have four key features: they
are disinterested, universal, necessary, and involve a sense of purpose without a specific purpose

3) The approach based on the study of the aesthetic object: This approach is based on the study of the a
esthetic object, which is any object or event that focuses on the aesthetic interest or experience. This app
roach is not limited to the study of art, but can include any sensible object in the world. The focus is on fin
ding the distinguishing features of the aesthetic realm in the objects of aesthetic experience and descripti
on.
[03/05/23, 11:01:17 PM] Kushal Lunkad: THE AESTHETIC RECIPIENT - The concept of the aesthetic rec
ipient refers to the people who have aesthetic interests and aesthetic experience, who produce and appre
ciate art, and employ concepts such as beauty, expression, and form. The question of who is at the receiv
ing end of aesthetics has been asked since the time of Plato. According to Kant, only rational beings can
exercise judgment or the faculty of aesthetic interest. He argued that if not exercised in aesthetic judgmen
t, one’s rationality is incomplete.

- The aesthetic recipient refers to people who have aesthetic interests and experience

- They produce and appreciate art and employ concepts such as beauty, expression, and form

- The question of who is at the receiving end of aesthetics has been asked since the time of Plato

- Kant argued that only rational beings can exercise judgment or the faculty of aesthetic interest

- He claimed that if not exercised in aesthetic judgment, one’s rationality is incomplete.

[03/05/23, 11:01:17 PM] Kushal Lunkad: THE AESTHETIC EXPERIENCE - The concept of the aesthetic
experience refers to the subjective experience of an individual when they encounter an object or event tha
t is aesthetically pleasing or beautiful. Here are some points to explain it

- Aesthetic experience is a personal and subjective response to an object or event that is perceived as be
autiful or pleasing

- It involves a sensory response to the object or event, as well as an emotional and intellectual response

- Aesthetic experience is not limited to art objects, but can also be found in nature, architecture, and other
aspects of the environment

- It is often characterized by a feeling of pleasure or enjoyment, but can also involve more complex emotio
ns such as awe, wonder, or melancholy

- Aesthetic experience can be enhanced by knowledge and understanding of the object or event, as well
as by the context in which it is encountered

- It is often associated with the concept of "flow," a state of complete absorption and engagement with the
object or event

- Aesthetic experience can be transformative, leading to new insights, perspectives, and ways of seeing t
he world.
[03/05/23, 11:01:56 PM] Kushal Lunkad: WESTERN AESTHETICS - SOCRATES, PLATO, ARISTOTLE

PRE-SOCRATIC ARTISTS

- The thought related to the philosophy of art of the West has its beginning in the Greeks.
- The Pre-Socratic era formed the base later for Socrates and his followers to ponder and determine the c
haracteristics of art and the role of artists.
- The study of Western Aesthetics is incomplete without knowing the metaphysical and ethical position of t
he respective philosophers.
- It is pertinent to imply that the aesthetic thought was highly influenced by the philosophical content of ea
ch philosopher.
- The approach adopted in this Block is to analyze the original works of philosophers to derive the develop
ment of Aesthetic thought.
- Pre-Socratic philosophers such as Thales, Anaximander, Anaximenes, Heraclitus, Parmenides, Empedo
cles, Anaxagoras, and Democritus were interested in understanding nature and its underlying principles.
- They believed that everything in nature was made up of a fundamental substance or element. For exam
ple, Thales believed that everything was made up of water while Anaximenes believed that everything wa
s made up of air.
- These philosophers were also interested in understanding how change occurred in nature. Heraclitus fa
mously said that "you cannot step into the same river twice" because everything is constantly changing.
- While these philosophers did not directly address art or aesthetics, their ideas about nature and change i
nfluenced later philosophical thought on these topics.
- For example, Parmenides’ belief in a stable and unchanging reality influenced Plato’s idea that there wa
s an ideal world beyond our physical world where perfect Forms existed.
- Similarly, Democritus’ belief that reality was made up of tiny particles called atoms influenced later ideas
about materialism and realism.

SOCRATES ON ART AND ARTISTS

- Socrates’ ideas on art and artists are explored through the Dialogues of Plato.
- An attempt is made to concretize the ideas of Socrates with regard to arts, especially Poetry, and his not
ion regarding the artists, especially the Poets.
- Socrates does not give a significant position to the poets, sculptors or painters of his times.
- By his dialectic methodology, he distances the role of art and the participation of artists in an ideal state.
- Plato does not differ from this and emphatically presents art as imitation and artists as imitators or rather
flatterers.
- However, in certain lines in the Republic and Laws, we gather that Plato does consider the end of a regu
lated art.
- This is based on his metaphysical position regarding Ideal, Form, Soul, Virtues etc., as debated by Socr
ates and imbibed by Plato.
- Socrates believed that knowledge was more important than artistic skill. He believed that true knowledge
could only be gained through reason and logic rather than through emotions or intuition.
- He also believed that poetry was based on falsehoods and myths which could lead people away from tru
th. Therefore he did not give much importance to poets or their works.
- According to Socrates’ dialectic methodology, one should question everything until they arrive at a logica
l conclusion. This approach can be applied to art as well. For example, one should question why a particul
ar work of art is considered beautiful or valuable until they arrive at a logical explanation.
- While Socrates did not directly address aesthetics or art theory in his dialogues with Plato, his emphasis
on reason over emotion influenced later philosophical thought on these topics.

PLATO’S THEORY OF IMITATION

- Plato’s Theory of Imitation is emphasized in Book III and X of The Republic.

- Plato presents art as imitation and artists as imitators or rather flatterers.
- He believes that art is a copy of a copy, which means that it is twice removed from reality and therefore,
not trustworthy.
- According to Plato, art appeals to the emotions rather than reason and can lead to moral corruption. He
argues that poetry can arouse emotions such as pity and fear, which can be harmful if not regulated by th
e state.
- In Book III of The Republic, Plato argues that poets should be excluded from the ideal state because the
y are not truthful. He suggests that poetry is based on falsehoods and myths, which can lead people away
from the truth.
- In Book X of The Republic, Plato argues that art is dangerous because it can create false beliefs about r
eality. He suggests that artists should be regulated by the state to ensure that they do not produce harmfu
l works.
- However, in certain lines in the Republic and Laws, we gather that Plato does consider the end of a regu
lated art. This is based on his metaphysical position regarding Ideal, Form, Soul, Virtues etc., as debated
by Socrates and imbibed by Plato.
- Plato believed that there was an ideal world beyond our physical world where perfect Forms existed. Th
ese Forms were more real than anything we experience in our physical world. For example, there was an
ideal Form for Beauty or Justice.
- According to Plato’s Theory of Forms or Ideas (also known as Platonic realism), everything we see arou
nd us is just a shadow or imitation of these perfect Forms. Therefore, when an artist creates something be
autiful or just in their work, they are merely imitating these perfect Forms without truly understanding them
.
- Plato believed that the role of the philosopher was to understand these perfect Forms and to guide socie
ty towards them. He believed that art could be used to educate people about these Forms, but only if it wa
s regulated by the state and used for moral purposes.

ARISTOTLE’S DOCTRINE OF KATHARSIS

- Aristotle’s Doctrine of Katharsis is explored in his work "Poetics" and "Rhetoric".

- Aristotle reconciles his position on the function and end of art, especially poetry and drama, by examinin
g the theory of imitation as propagated by his teacher Plato.
- Aristotle has not dealt with the philosophy of art distinctly like other sciences. By his logical distinctions a
nd rigid demarcation, he deals with poetry and drama.
- In Poetics, Aristotle presents the idea that tragedy can have a purifying effect on the emotions of the aud
ience. This purifying effect is known as Katharsis.
- According to Aristotle, tragedy should evoke feelings of pity and fear in the audience. These emotions sh
ould be aroused by events that are both unexpected and inevitable.
- The tragic hero should be a person of high status who experiences a downfall due to a tragic flaw or erro
r in judgment. The audience should feel pity for this character because they are suffering despite their nob
le qualities.
- The audience should also feel fear because they can see themselves in the tragic hero’s situation. They
can imagine how easily they could make similar mistakes or suffer similar misfortunes.
- Through experiencing these emotions, the audience can achieve a cathartic release that purifies their e
motions and leaves them feeling cleansed or purified.
- While Aristotle’s Doctrine of Katharsis is primarily focused on tragedy, it has been applied to other forms
of art as well. For example, some have argued that music or visual art can also have a cathartic effect on
the emotions.

PLOTINUS ON INTELLECTUAL BEAUTY

- Plotinus was a philosopher who lived from AD 205-270 and is known for his work "The Six Enneads".
- In the sixth tractate of the first Ennead, Plotinus deals with ’Beauty’ and focuses on intellectual beauty.
- Plotinus takes up the discussion on the end of art that is the art experience, following the tradition of Aris
totle.
- In this section, he sets an array of questions recalling various ideas especially of Socrates, Plato, and Ar
istotle.
- According to Plotinus, intellectual beauty is not something that can be seen or touched but rather somet
hing that can only be experienced through contemplation or reflection.
- He believed that intellectual beauty was a reflection of the divine and that it could lead to a sense of unit
y with the divine.
- For Plotinus, intellectual beauty was not limited to art but could also be found in nature and in philosophi
cal ideas.
- He believed that experiencing intellectual beauty could lead to a sense of transcendence or spiritual enli
ghtenment.
- While Plotinus did not directly address aesthetics or art theory in his work, his emphasis on intellectual b
eauty influenced later philosophical thought on these topics.
[03/05/23, 11:01:56 PM] Kushal Lunkad: METHOD OF KANT - Kant’s method is highly analytical and thor
ough

- He introduced the tripartite division of mental processes into cognition, cognation, and affection

- Kant believed that knowledge requires both sensation and understanding

- Sensation supplies the data for knowledge to the understanding

- Objects are given to us by means of sensation and it alone yields us intuitions

- The only valid use of the understanding consists of its thinking of the data supplied to it by sensation

- The contribution of sensation is the data of sensation come to us through various sense organs and pres
ent themselves to us in a confused and unconnected way

- In sensation, there are two a priori forms which provide this ordering, namely, space and time

- Space is nothing but the form of all appearances of outer sense

- Time is the determinate form in which alone the intuition of inner states is possible

- Neither space nor time is derived from experience nor do they represent any property of things in thems
elves

- They are a priori forms according to which we organize and perceive sense data

- The objects of our sense experience are represented as being spatio-temporal

- The contribution of understanding is that the confused sense data are supplied to reason which organize
s them in spatio-temporal forms and
[03/05/23, 11:01:56 PM] Kushal Lunkad: KANT’S PHILOSOPHY OF KNOWLEDGE - Kant’s philosophy of
knowledge emphasizes the importance of both sensation and understanding in obtaining knowledge. He
believed that knowledge requires both sensation and understanding, with sensation supplying the data for
knowledge to the understanding. Kant introduced the tripartite division of mental processes into cognition
, cognation, and affection, with the three Critiques developed corresponding to these three divisions.

Kant also emphasized the role of space and time as a priori forms that provide the ordering of the data of
sensation. Space is the form of all appearances of outer sense, while time is the determinate form in whic
h the intuition of inner states is possible. Neither space nor time is derived from experience nor do they re
present any property of things in themselves. They are a priori forms according to which we organize and
perceive sense data.

Kant’s philosophy is transcendental in nature, meaning that it goes beyond the ordinary level of experienc
e. He believed that any epistemology should have occupied itself with the inquiry of a priori elements invol
ved in knowledge, which are independent of any experience whatsoever. These elements are the pre-con
ditions of any cognitive experience whatsoever. Unless these a priori elements are operative, no experien
ce of any object would arise at all.
[03/05/23, 11:01:56 PM] Kushal Lunkad: KANTS PHILOSOPHY OF GOD - Kant’s philosophy of God can
be summarized as follows

1. The concept of God is a necessary postulate of practical reason, as it is required to make sense of the
moral law and the possibility of achieving the highest good

2. The existence of God cannot be proven through theoretical reason, as the concept of God is beyond th
e limits of human knowledge and experience

3. The traditional proofs for the existence of God, such as the ontological, cosmological, and physical-the
ological arguments, are flawed and cannot establish the existence of God

4. The concept of God is a regulative principle of reason, which guides our thinking about the world and h
elps us to achieve a unified understanding of nature

5. Belief in God is central to Kant’s moral faith, which holds that morality inevitably leads us to the accepta
nce of certain tenets of traditional theism

6. Kant’s moral philosophy is based on the idea of autonomy, which holds that human reason is an auton
omous source of principles of conduct, immune from the blandishments of sensual inclination in both its d
eterminations of value and its decisions to act

7. The highest value in Kant’s moral philosophy is freedom, which is the limiting condition of all other valu
es and the basis for the incomparable dignity
[03/05/23, 11:01:56 PM] Kushal Lunkad: MORAL PHILOSOPHY OF KANT - Kant’s moral philosophy is pr
esented in his Critique of Practical Reason

- He argues that human reason is an autonomous source of principles of conduct

- Human autonomy is the highest value and the limiting condition of all other values

- Kant is seen as an ethical formalist, according to whom all judgments on the values of ends must be sub
ordinated to the obligatory universality of a moral law derived from the very concept of rationality itself

- The inherent value of the world, the summum bonum, is freedom in accordance with a will which is not n
ecessitated to action

- The incomparable dignity of human beings derives from the fact that they are free with regard to all laws
of nature, obeying only those laws which they make themselves

- Kant furnishes further formulations of the categorical imperative, especially the Formula of Humanity as
an End in Itself
- It requires the possibility of rational consent to your action from any agent affected by it

- It is the formula of the kingdom of ends, the requirement that any proposed course of action should be c
onsistent with the possibility of a kingdom of ends in which all rational beings are treated as ends in thems
elves and never merely as means to the ends of others.

Roopabhedah pramanani
bhava-lavanya-yojanam |
Sadrishyam varnakabhangam
iti chitram shadakam ||
SIX LIMBS OF ART - here are the six limbs of Indian art and their key principles

1. Rupa-bheda (secrets of form):

- Emphasizes on the physical typologies of form

- Stresses on the knowledge of form (Rupa) and the subtle and stark difference of forms

- Accurate draughtsmanship is necessary to achieve this

2. Pramanani (proportion):

- Manifestation of form must be guarded by the power of proportion

- Emphasizes on perception, measurement, and structure

- Provides an insight into the structural anatomy of objects

3. Bhava (emotional Disposition):

- Bhava- yojana speaks about the emotion, a feeling, or an intention

- Eulogizes the expression of emotions; the formless

- Bhava are of two types, covert i.e. the hidden emotions and overt i.e. revealed emotions

4. Lavanya-yojanam (gracefulness in composition):

- Lavanya stands for ‘Grace’

- Its importance can be illustrated through the example of a meal/curry rich in all flavors and spices save t
he salt

- Just as the curry loses its charm without the salt, so does a painting without colors
[03/05/23, 11:16:53 PM] Kushal Lunkad: DESIGN CRITIQUE - here are some points about design critique

- Design critique is a process of evaluating and providing feedback on a design

- It is an essential part of the design process as it helps designers to improve their work and make it more
effective

- Critique can be done by peers, clients, or experts in the field

- The feedback provided in a critique should be constructive, specific, and actionable

- Critique can focus on different aspects of design, such as usability, aesthetics, functionality, and user ex
perience

- Aesthetics is an important aspect of design critique as it deals with the visual appeal of the design

- In a design critique, the designer should be open to feedback and willing to make changes to their work

- Critique can be done in different formats, such as in-person meetings, online discussions, or written feed
back

- The goal of design critique is to improve the design and make it more effective in achieving its intended
purpose

- At UID, Karnavati University, design critique is an integral part of the design education process, and stud
ents are encouraged to participate in critiques to improve their skills and knowledge.