Originary
Concepts of Classical Indian Art Part I: Rupartha
–Form and Content
A.
Srinivas Rao
“Rupam rupam pratirupam bhavati” Rig Veda
6.47.18
“Every
form is an image of an original form”.
Head of Buddha, 4th -5th CE Gandhara |
Most writing on Indian art tends
to gloss over the substantial conceptual basis to its aesthetic foundation,
which though not systematic is yet insightful. However Indian aesthetic ideas
often spill from literary to performing to plastic art forms and gives rise to
what maybe considered synesthetic of a mixture of media and having what some
have called an oneiric or dreamlike quality. It is a story that needs to be
told with care as it is sometimes dismissed as less intellectually robust than
“Western” art. Aesthetics takes as its subject matter beauty and is studied by
non artists (as humorously suggested) and as the gag goes “Aesthetics is to
artists what ornithology is to birds”. Aesthetics, the content of this subject
in India takes its roots from
grammar, dramaturgy and literature spilling over into sculpture, architecture
and painting and finally into music and dance. Its axial conception is the
spectator centric aesthetic experience also called “Rasa” whose translation is loosely “sapience”. We shall in this essay explore the elements of
“Form and Content” or “Rupa-artha”,
and reserve the complex idea of “Rasa” for
another essay.