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Books > Art and Architecture > ON THE SADANGA CANONS OF PAINTING
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ON THE SADANGA CANONS OF PAINTING
ON THE SADANGA CANONS OF PAINTING
Description
About the Book

The present work throws welcome light on an aspect of ancient Indian aesthetics related particularly to Painting. Sadanga signifies collectively the six limbs or constituents of citra that were taken to define, according to the age-old art aestheticians, the essential nature of a pictorial representation. This was the doctrine based on Indian classical criticism of painting in its traditional analyses of aesthetic understanding. According to this theory, Painting, like a living organism, consists in the composition of its Six Limbs, viz.

  1. Differentiation of Form;
  2. Proportion;
  3. Sentiment;
  4. Beauty;
  5. Suchness, and
  6. the Mannerism of Style regarding brush-work and colouring.
Each of the above aspects has been historically investigated, analyzed and explained by the learned author of this book against a thorough background of ancient Indian literature, citing and assessing the relevance of a vast amount of excerpts in their pedagogic notions, chronological contents and specific ideologies in the theory as well as the practice of Indian painting.

About the Author

Dr. P.K. Agrawala is a well-known scholar of Indology working as a University Professor in the Department of Ancient Indian History, Culture & Archaeology of the Banaras Hindu University, Varanasi. His special field of investigation is Ancient Indian Art, Iconography and Religious thought.

Contents

Select Bibliography
I. Introduction
II. The Antiquity and Main features of the Sadanga Painting-Theory
III. Early Development of Painting Aesthetics
IV. The Sadanga Canons

ON THE SADANGA CANONS OF PAINTING

Item Code:
IDD713
Cover:
Paperback
Edition:
1981
Publisher:
Size:
8.6" X 5.4"
Pages:
82
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$14.00
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About the Book

The present work throws welcome light on an aspect of ancient Indian aesthetics related particularly to Painting. Sadanga signifies collectively the six limbs or constituents of citra that were taken to define, according to the age-old art aestheticians, the essential nature of a pictorial representation. This was the doctrine based on Indian classical criticism of painting in its traditional analyses of aesthetic understanding. According to this theory, Painting, like a living organism, consists in the composition of its Six Limbs, viz.

  1. Differentiation of Form;
  2. Proportion;
  3. Sentiment;
  4. Beauty;
  5. Suchness, and
  6. the Mannerism of Style regarding brush-work and colouring.
Each of the above aspects has been historically investigated, analyzed and explained by the learned author of this book against a thorough background of ancient Indian literature, citing and assessing the relevance of a vast amount of excerpts in their pedagogic notions, chronological contents and specific ideologies in the theory as well as the practice of Indian painting.

About the Author

Dr. P.K. Agrawala is a well-known scholar of Indology working as a University Professor in the Department of Ancient Indian History, Culture & Archaeology of the Banaras Hindu University, Varanasi. His special field of investigation is Ancient Indian Art, Iconography and Religious thought.

Contents

Select Bibliography
I. Introduction
II. The Antiquity and Main features of the Sadanga Painting-Theory
III. Early Development of Painting Aesthetics
IV. The Sadanga Canons

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