INDIAN SCHOOL MUSCAT
DEPARTMENT OF FINE ARTS
CLASS XII – PAINTING & SCULPTURE
Worksheet No. 6
History of Indian Art Unit – I – (A) Six Limbs of Indian Painting ‘SADANGA
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.
The word “SADANGA” consists of two words, one is “Shad” means „Six‟ & the other is
“Anga” means „Part‟. Sadanga consist of the six limbs, or canons of art, on which the whole
art of painting depends. The Sadanga is an inevitable part of every great Indian masterpiece.
For the ancient painting of Ajanta to those created by Raja Ravi Varma and M.F. Hussain
today, we will observe that every notable artist has silently put to use all the six principles.
Now, India of the 1st century B.C. had seen the evolution of the „SADANGA” or the SIX
LIMBS OF THE PAINTING‟ which are considered as the principles of the art even today.
The Six Limbs are:
“Roop Bhedah Pramanani Bhava-Lavanya-yojanam
Sadrishya Varnikabhang iti chitra Shadangam”
1. Roopbheda
2. Pramana
3. Bhava
4. Lavanya-yojanam
5. Sadrishyam
6. Varnikabhangam
According to the couplet, „Six Limbs of Art‟ have been described as followed:
Example: Padmapani, Cave No. 1, Ajanta, Maharastra,
1. RUPA-BHEDA In the given painting of
Padmapani from Ajanta cave No.
„Roopa‟ means the outer form or 1, so many forms are visible.
appearance of the subject. The Padmapani a form of Buddha,
perception is visual as well as mental. holding a blue lily, showcased
„Bheda,‟ on the other hand, means like a youthful king with luxury
and charm, standing along with
difference. In other words, to create a the princess, attendants,
painting, an artist needs to have a musicians, kinnaras, animals
sound knowledge about the different like monkeys and birds. In
forms that exist. He has to know how Background with the architectural
a form of life differs from a form of scene, trees and plants. And
death. Both have their own figures with different colour
complexions, poses and
characteristic features and sublimity. performing actions.
1
Page
ISM/SENIOR SECTION/CLASS 12 FINE ARTS-PAINTING AND SCULPTURE/APRIL 2020
Example: Maya Devi, Ajanta, Maharastra, India
2. PRAMANA Maya Devi is standing in a very
harmonious pose along with the
servants with a support of a pillar.
„Pramana‟ teaches us the exact
Because she is a queen she is
measure, proportion and distance of different in colour complexion
the subjects. It provides an insight with Indian red and with a high
into the structural anatomy of objects, proportion in size and rest of the
too. The Indian artists were figures with opposite colour
guided more by the proportions than scheme and smaller in size, which
makes the difference in
by absolute measurements. The
importance.
proportions were often symbolic and
suggestive.
Example: Padmapani, Cave No. 1, Ajanta, Maharastra,
3. BHAVA
In padmapani, because he is
Buddha the expression of the
„Bhava‟ means an emotion, a feeling,
prince is peaceful,
an intention, or an idea. This aspect compassionate, subtle, and
of art is depicted in the form of serene.
feelings expressed by the subject. It is
the expression of the character which
fulfils the meaning of the painting
and the concept or the story behind.
Example: Radha & Krishna with gopis, Pahari miniature,
4. LAVANYA-YOJANAM India
Your painting should be gracefully The beauty and
charm is
high in its artistic quality. The
rendered in the
pramanani is for stringent Pahari painting
proportions, and bhava is for of Bhagvata
expressing movement. But, lavanya series where
yojanam is for controlling the over- romance of
expression of both. The motive is to Radha and
Krishna flows in
bring about a sense of beauty in a
the woods and
dignified and organised manner. greens.
Infusion of grace, it is a planning to
create a beautiful and graceful
environment, along with the beauty of
the character.
2
Page
ISM/SENIOR SECTION/CLASS 12 FINE ARTS-PAINTING AND SCULPTURE/APRIL 2020
5. SADRISHYAM
This is perhaps the most challenging task of
creating a painting. Sadrishya 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.
It enhance the character of any individual
and make him complete in itself. For
example mriganayani (eyes like a deer
eyes), nose should be like a parrot beak,
waist should be like a elephant-trunk, thighs
should be like a banana trunk, fingers like
lotus petals, lips like fresh bursted flower,
etc.
6. VARNIKABHANGAM
It is 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.
3
Page
ISM/SENIOR SECTION/CLASS 12 FINE ARTS-PAINTING AND SCULPTURE/APRIL 2020
