[I propose to post a series of articles on the art of painting in ancient India with particular reference to the Chitrasutra of Vhishnudharmottara purana, a text dated about Sixth Century AD.
The current article, by way of introduction, talks about certain concepts concerning the art of painting in ancient India. It also briefly mentions the influence of Chitrasutra on the paintings of Ajanta.
The next set of articles will discuss, briefly, the text of the Chitrasutra.
The articles to follow thereafter will try to cover different aspects of Indian painting such as the preparation of the surface for painting the murals; the costumes of various persons; and more importantly the proportions (tala-mana) to be observed while drawing various figures etc.
I propose to round up with a note about the legacy of Chitrasutra-Ajanta tradition.]
1.1. Indian art has a very long and an illustrious history. Painting as an art form has flourished in India from very early periods as is evident from various epics and other literary sources; and also from the remnants that have somehow survived the test of time, vagaries of nature and vandalism- wanton or otherwise – caused by humans.
1.2. The main characteristic of Indian art has been its remarkable unity and consistency. Though there were regional variations and individual styles, the works produced in diverse geographical and cultural regions shared certain common values, concepts and techniques. And, all those varied manifestations were inspired by a common general principle. The regional idioms, nevertheless, contributed to the richness of Indian art, and their mutual influences gave birth to multi-faceted development of Indian art.
1.3. That was true not merely of the classical paintings but also of the art works and paintings created by the village craftsmen and artists. Since there never was a nodal body to preserve and develop art in India, it was the initiative, enterprise and imagination of those dedicated humble artists that kept alive the ancient traditions. Their exquisite themes inspired by life around them, painted in their homemade bright colours employing indigenous styles have enriched the cultural diversity of India.
1.4. Another significant feature of the ancient Indian art was its vision of life and its world view. That inward vision and a sense of peace and tranquillity are its hallmarks. The old paintings serve as a valuable record of the thoughts and aspirations of our ancients. These ancient arts present the world as a great harmony that blends seamlessly into the whole of creation. It recognizes the oneness that exists in all of us, in the animals, the flowers, the trees, the leaves and even in the breeze which moves the leaves. All that is indeed seen as a manifestation of That One.
2.1. Indian art is often classified as religious art, though not all Indian art is purely religious, and some of it is only nominally so. The impression was perhaps grafted by the contemplative imagery presented by the ancient Indian art. But, the art, in general, was inspired by life, by reflecting upon human concerns and aspirations; and celebrating and delighting in the life of this world.
2.2. Even the religious art is not sectarian. It is at once Hindu, Buddhist and Jain, for its style was a function of time and region and not of religion. Thus, it is not strictly correct to speak of Hindu or Buddhist art, but, rather, of Indian art that happened to render Hindu or Buddhist themes. For example, an image of Vishnu and an image of Buddha of the same period are stylistically the same, religion having little to do with the mode of artistic expression.
2.3. The Indian art that rendered religious themes shared a common pool of symbols and avoided imitation of the physical and ephemeral world of the senses.For instance ,in all the Hindu , Jaina and Buddhist themes , alike, the Chakra – the revolving wheel of time symbolizes the cyclical rhythms of all existence; the Padma – or the lotus embodies creation – that springs from the bosom of the earth; the Ananta (represented as a snake) symbolizes water – the most important life-giving force from which all life emerges, evolves and then resolves; the Swastika – represents the four-fold aspects of creation ,motion and a sense of stability ; the Purnakalasha the over -flowing pot symbolized creativity and prosperity; the Kalpalata and Kalpavriksha – the wish-fulfillment creeper symbolize imagination and creativity; and , Mriga – or deer – symbolizes desire and beauty.
Similarly there were common set of gestures (mudra) by position of fingers, hands, limbs; and by stance of images in paintings and in sculptures. These varied mudras made explicit the virtues such as wisdom, strength, generosity, kindness and caring etc.
The objects depicted in Indian art evoked an imagery or represented an idea that sprang from the mind. That might perhaps explain the relative absence of portraiture and even when it was attempted the emphasis was on the ideal person behind the human lineaments rather than on the physical likeness.
Another feature is the absence of the sculptures and other representations of rulers or rich patrons. And, hardly any sculpture or painting bears the signature or the name of its creator. That might again symbolize a move from particular to the universal. But , it surely baffled generations of historians.
3.1. Indian figurative art is therefore not mere portraiture of the specific; but is a symbol pointing to a larger principle. It is akin to the finger pointing to the moon. For instance the image or the painting of the Buddha could be seen as that of the Buddha the historical prince Siddhartha Gotama and Sakyamuni. But, it is more than that. The Buddha –figure is the embodiment of all the compassion, pathos and grace in absolute. Often, certain symbols surrounding the Buddha-image are meant to amplify its message. For instance, the idea of reverence and holiness could be represented sometimes by the surrounding vegetation, flora, fauna, yakshis, gandharvas, and apsaras each playing a specific role in building a totality; or it may be the single austere simple statement of the still centre of peace and enlightenment suggested through the symbols of the Buddha such as the Bodhi tree, seat, umbrella, sandals, footprints etc.
The Buddha –image is , thus, at once particular and universal. The spirit and soul of the Buddha is contained in the body of the particular but impersonalized form; the serene mood of compassion it portrays is everlasting and universal.
4.1. The earliest substantial specimens of Indian painting, that have survived, are the murals found in caves of Ajanta and in Kailashnath temple at Ellora. The Cave temples at Badami, in the Karnataka, and Sittanavasal, in Tamil Nadu too contain paintings of similar style. But, the most well –known of them all is the set of murals on the walls in Ajanta caves, probably of the early 6th and 7th centuries. It followed the golden age of the Guptas. They depict the tales of the Buddha in his previous births on his way to enlightenment. Bodhisattva Padmapani, the bearer of the Lotus is painted amidst playful monkeys and joyous musicians. Yet, amid all that activity, the Bodhisattva looks within in tranquil harmony. There is a sense of sublime peace that pervades this figure, which is one of the masterpieces of Indian art. And, on the ceilings of the caves are the illustrations of the teeming life of the world, its flowers and fruit, the animals of the world and mythical creatures. The murals also bring to life an innumerable variety of other persons such as princesses, maids, soldiers, guards, mendicants, merchants etc.
4.2. The artists of Ajanta, who created those valuable treasures of the art world, were the inheritors of an ancient tradition that painted and decorated palaces, temples and caves. The theories, principles and techniques followed by those artists came down to them through oral traditions bequeathed by a long line of artists spread over several generations. The narrative mastery and technical knowledge demonstrated by artists at Ajanta suggest existence of several Schools of arts, where painting technique, procedures and preparatory work to be followed in preparing the mural surface were described.
The artists of Ajanta , in turn, inspired and guided the principles and techniques for the benefit of future generations of artists . These gave raise to many texts.
Some of the main texts of such nature that dealt with painting techniques were:
– The Vishnudharmottara Purana composed in 6-7th A.D. shortly after the mural works of Ajanta.
– The Samaraga Sutradhara, a text of the Shilpa-shastra attributed to Raja Bhoja, king of the Paramara dynasty of 11th century , mainly dealing with pictorial and iconographic art.
– The Manasollasa, an encyclopedic work dealing , among other things, the Southern India paintings tradition attributed to king Somesvara of early 12th century Chalukya dynasty.
– The Silparatna, written in 16th century, a section of which entitled Pratima -Lakshmana (characteristics of images) which contains lot of information on painting technique.
– The Aparajita Pecha of Bhuvana Deva, probably composed after Silparatna that describe architecture and contains concepts on decorative design and preparation of paint ground.
Among these texts, Vishnudharmottara and Samaraga Sutradhara describe the technique of preparation of paint ground using clays earths. The text Manasollasa and Silparatna represents the preparation of ground under southern traditions of the subcontinent where the basic component is lime or burnt and powdered conch shells or white earth of calcareous nature, available in south of India. Some of the important ancient Indian painting text showing basic ingredients and procedure to be followed in the preparation of paint ground and colors are elaborate
There are also many other texts written in Sanskrit in which instructions on mural paintings techniques are systematically stated. Some of the ancient paintings texts have not yet been translated.
M. Singh and B.R. Arbad who conducted technological studies on Ajanta painted mortars , write in their in their research paper Ancient Indian painting recipes and mural art technique at Ajanta
Although Vishnudharmottara was composed one or two centuries after the execution of Ajanta murals, it may be considered as true reference text for proper understanding of painted procedure and appreciation of the painted murals.
The pigments identified at Ajanta are red ochre, yellow ochre, green earth, lapis lazuli, carbon black and shell/kaolin lime. The outlines of the Ajanta paintings are mostly drawn by carbon black or red ochre. The mud mortar thickness varies from few millimeters to an inch in some cases where basaltic stone is very roughly cut. Organic matters such as rice husks, plant seeds and plant fibers are generally found admixed within the mud mortar.
… The raw materials used for the preparation of clay ground are mostly locally available materials collected from either Waghura river in front of Ajanta caves or nearby places. Except blue, all the pigments are locally available materials including green which is the product of basaltic rock disintegration. It appears that aggregate used as fillers to the mud mortar at Ajanta are also byproduct of weathered basalt collected from ravine of Waghura in front of Ajanta caves or nearby places. Except blue, all the pigments are locally available materials including green which is the product of basaltic rock disintegration. It appears that aggregate used as fillers to the mud mortar at Ajanta are also byproduct of weathered basalt collected from ravine of Waghura. The aggregates mostly identified are quartz, zeolites and celadonites.
It is observed that 8-10% lime with organic additives was mixed in the low swelling clay to prepare the mud mortar at Ajanta. The technique of paintings is purely tempera and animal glue has probably been used as binding agent to the pigments at Ajanta and related sites. Unlike fresco painting, the paintings technique in India is either tempera or Sacco and binding medium identified at Ajanta is animal glue. An understanding of the composition of ancient mortar and technology is necessary for creation of new mortar for restoration at Ajanta and other sites.
5.1. Among the many texts, the Chitrasutra of the Vishnudharmottara Purana, which attempted to preserve the ancient and pass it on in its purity to the subsequent generations , is considered most significant. That ancient treatise provided the artists a grammar to articulate their art expressions. Apart from describing the basic tenets of painting, Vishnudharmottara, literally, provided hundreds of details on the art and the techniques of painting. The Chitrasutra gave a framework of instructions and suggestions on the ways to prepare the walls and other surfaces that hold the murals; the preparation of colours and paints; appropriate choice of colours; different ways of shading; proportions and ratios to be maintained while painting different kinds of male and female figures according to their position and standing in the social strata and occupations; and the ingenious ways of introducing symbolism through plants , birds, animals, and other symbols; and so on.
Main characteristics of the Ajanta paintings are the use of free flowing lines for delineating beautiful figures and their delicate inner feelings; together with use of shading different parts of the body to produce three dimensional effects in the images. The other was use of proper colors at times contrasting and at times matching to create magical effects. These were precisely the principles that Chitrasutra emphasized repeatedly.(explained in the next post).
5.2. Benoy K. Behl an art-historian, filmmaker and photographer who has written extensively on Ajanta art explains the basic preparation of the surface for painting the mural was guided by the methods recommended in the Chitrasutra. He also explains that “The mural paintings of Ajanta are not frescoes, as they are sometimes mistakenly described, for they were not painted on wet lime plaster. These murals were executed with the use of a binding medium of glue applied to a thin coat of dried lime wash. Below this surface wash were two layers of plaster covering the stone walls. The first was a rough, thick layer of mud, mixed with rock-grit, vegetable fibres, grass and other materials; the second was a finer coat consisting of mud, rock dust or sand and finer vegetable fibres, which provided a smooth surface for the lime wash on which the paintings were made.
The artist got his colours from the simple materials that were available in these hills. For his yellow and red he used ochre, for black he used lamp soot, for his white he used lime. Only for his blue he used lapis lazuli, which came from Afghanistan. These simple colours were blended to provide the numerous colours and subtle hues, which are seen in the Ajanta paintings. “
The Academy of Archaeology & Sciences of Ancient India (A.A.S.A.I) observes “The technique adopted in preparing the ground and pigments were sound and in many places they have stood the test of time. But, in large number of cases, they are fast disappearing not due to the fault of the painter or his technique but due to external conditions like the structural problems, location problems and above all foolish and senseless vandalism.”
6.1. Chitrasutra paid enormous importance to the delicate painting of the soulful and expressive eyes that poured out the essence of the subject. It describes five basic types of eyes. The artist was told that the eyes are the windows to the soul; and it is through their eyes the figures in the painting open up their heart and speak eloquently to the viewer. The painting of the eyes called the “opening of the eyes” was therefore the final and most important detail to be painted. It was usually done in the guiding presence of the Master or was completed by the Master himself. It is not therefore surprising that the expressive set of eyes of the Ajanta tradition continue to influence generations of Indian artists.
7.1. The text clearly mentions that rules do not make the painting; but it is the artist with a soul and vision who creates the art expressions. The Chitrasutra aptly concludes with sagely observation: “In this treatise only the suggestions are given, oh king, for this subject can never be described in detail even in a hundred years. Whatever has not been said here should be inferred by other means…Painting is the best of all arts.”
7.2. The artists appeared to have taken full benefit of the liberty provided by the text. Shakti Maira a noted artist writes “I did not see the figures as having been rendered in a particularly formal way. Their proportions were usually off — head and upper torsos too long for the rest of the body, arms out of proportion with lower limbs, there was hardly any evidence that the strict rules of drawing in the Vishnudharmottara had been followed! What I saw was a powerful freedom and looseness in drawing, what we artists hope to achieve after we have learned all the rules of drawing. These illustrative images were free from formalism, and that is the strength of the expressed emotions and lavanya in this work.
For me, the reason why the Ajanta paintings are so great is that they did not get bogged down in the formalism of art making.
As an artist, I would urge you to experience the mysteries beyond cognitive intellect. Don’t just try and understand the work, try also to experience it directly. That is where the real rasa is. “
Shri S Rajam’s rendering of Ramayana theme in Ajanta style
As I mentioned earlier , such artistic freedom was encouraged by Chitrasutra of Vishnudharmottara, which said, valuable as these various instructions are , they are derived from and subservient to practice . He(artist) has the freedom to work according to his own intellect.
8. Let’s talk about the Chitrasutra of Vishnudharmottara, in a little more detail, in the next post.
Chitrasutra of Vishnudharmottara
Sources & References
Ajanta, the fountainhead
Ancient Indian Costume
A.A.S.A.I: Paintings Preservation
ANCIENT INDIAN PAINTING RECIPES AND MURAL ART TECHNIQUE AT AJANTA
Ajanta: An artist’s perspective
All Ilustrations are taken from Internet