Veda None as Skilled in Arts of Love as I

Shilpa Shastra

Temples Carpentry Sculpture 1st century BC jewelry Shilpa Shastras are ancient texts that depict blueprint and principles for a wide range of arts and crafts.[1]

Shilpa Shastras (Sanskrit: शिल्प शास्त्र śilpa śāstra ) literally means the Science of Shilpa (arts and crafts).^{[1] [2]} It is an ancient umbrella term for numerous Hindu texts that depict arts, crafts, and their design rules, principles and standards. In the context of Hindu temple architecture and sculpture, Shilpa Shastras were manuals for sculpture and Hindu iconography, prescribing among other things, the proportions of a sculptured figure, limerick, principles, significant, as well as rules of compages.^[iii]

Lx-four techniques for such arts or crafts, sometimes called bāhya-kalā "external or practical arts", are traditionally enumerated, including carpentry, architecture, jewellery, farriery, interim, dancing, music, medicine, poetry etc., likewise lx-4 abhyantara-kalā or "hole-and-corner arts", which include generally "erotic arts" such every bit kissing, embracing, etc. (Monier-Williams s.v. śilpa ).

While Shilpa and Vastu Shastras are related, Shilpa Shastras bargain with arts and crafts such as forming statues, icons, rock murals, painting, carpentry, pottery, jewellery, dying, textiles and others.^{[4] [5]} Vastu Shastras deal with building architecture – edifice houses, forts, temples, apartments, village and boondocks layout, etc.

Description [edit]

Shilpa (शिल्प) refers to whatever art or craft in aboriginal Indian texts, while Shastra ways science. Together, Shilpa Shastra ways the scientific discipline of fine art and crafts. The ancient Sanskrit texts use the term Shilpin (शिल्पिन्, male person artist)^[vi] and Shilpini (शिल्पिनी, female creative person)^[vii] for artists and crafts person, while Shilpani refers to works of arts of human being.^[1]

Shilpani, works of fine art of homo,
imitate the divine forms,
past employing their rhythms,
they metrically reconstitute,
and interpret the limitless knowledge,
of the sacred hymns,
from the limits of beingness human.

The significant of Shilpa, according to Stella Kramrisch, is complex. She writes that it consists of "art, skill, craft, labor, ingenuity, rite and ritual, form and creation."^{[1] [x]} The range of crafts encompassed past the term Shilpa extends to every aspect of culture, includes sculptor, the potter, the perfumer, the wheelwright, the painter, the weaver, the architect, the dancer, the musician, the arts of love, and others. Ancient Indian texts assert that the number of the arts is unlimited, they deploy sixty four kala (कला, techniques)^[11] and thirty 2 vidyas (विद्या, fields of knowledge).^{[ane] [12]} Shilpa is discussed in Agamas, Puranas and Vastu Shastra where it is linked to the mythology of Vishvakarma.

In painting [edit]

Shilpa Shastras include chapters on paintings, both miniature and large.^[thirteen] For instance, Narada Shilpa Shastra dedicates chapters 66 and 71 to painting, while Saraswati Shilpa Shastra describes diverse types of chitra (total painting), ardhachitra (sketch work), chitrabhasa (advice through painting), varna samskara (preparation of colors).^[14]

Other aboriginal Shilpa Shastra on painting include Vishnudharmottara Purana and Chitralakshana, former is available in Sanskrit while the simply surviving copies of latter are in Tibetan (both were originally written on birch bark, and have been translated into English and German).^[15] These Sanskrit treatises discuss the post-obit aspects of a painting: measurement, proportions, perspective of the viewer, mudra, emotions, and rasa (significant). Such an approach of Indian paintings, states Isabella Nardi, make Shilpa Shastra not only canonical textual sources but also a means to transmit cognition and spiritual themes.^{[16] [17]}

In carpentry [edit]

The first chapter of Shilpa Shastra Manasara discusses the measurement principles for carpentry.^[18] The 9th-century version of Mayamata text of Tamil Nadu and 16th century version of Shilparatna of Odisha draw takshaka and vardhaki as forest Shilpins; takshaka possesses the knowledge of wood types and practices the art of cut wood, while vardhaki possesses the knowledge of forest forms and practices the art of carpentry.^[19] One of the primeval mentions of carpentry arts is in Book 9, Chapter 112 of Rig Veda.^[xx] Carpentry was also an essential Shilpa Shastra during the structure of a Hindu temple.^[21]

In metallurgy [edit]

The 4th-century CE 99.seven% pure Iron pillar in Delhi reflecting the metallic-related shilpa in aboriginal Bharat.^[22] The pillar was moved and reinstalled near Qutb complex nigh 1000 years subsequently. The upper part of the pillar remains without any rust damage; the lower, reinstalled in-ground function shows signs of rust.

The Vedas, in particular Atharva veda and Sthapatya veda, depict many kinds of arts and crafts in their give-and-take of Shilpa Shastra and Yantra Sarvasva. The Rig veda, states Ravi,^[16] mentions equipment used in casting, such equally dhamatri (cupola), gharma aranmaya (crucible) and bhastri (blower). These discussions are in the context of making idols, and describe rules to achieve best talmana (proportions), mudra (stance) and bhava (expression).^{[sixteen] [17]}

Sanskrit texts such equally Shilparatna^[23] and Manasara^[24] describe in detail the procedure and principles for art work with metals, particularly for alloys such equally panchadhatu (five metals – zinc, tin can, copper, silver and gold) and ashtadhatu (viii metallic alloys – which adds atomic number 26, lead and mercury to panchadhatu).^[16] Madhuchista Vidhana (cire perdue or lost wax) casting process is the most discussed process in these ancient shilpa shastras with metals.^{[sixteen] [25]} Kirk suggests that these Shastras diffused from India to other ancient cultures in Asia.^[26]

While there is empirical prove of high purity metallurgy and art works with other metals, some aboriginal Shilpa Shastras have been lost. For example, the fifth century Iron Pillar of Delhi, which stands 23 feet, weighs 6 tonnes and contains 99.72% atomic number 26 without showing any signs of rust, is empirical evidence of the land of metallurgical arts in 5th century Bharat.^{[16] [22]}

Shilpa Shastra education in aboriginal Republic of india [edit]

Birth was no bulwark

All arts were the domain of all classes, castes and both genders in aboriginal India.^[27] The ancient texts of Parashara states that all crafts were practised by anyone irrespective of family unit'southward occupation.^[1] The Buddhist Jatakas mention Brahmin carpenters, the fourth century text Baudhayana describes^[28] chariot builders, carpenters, brick-workers, potters and metal workers from people of people classified as Kshatriya, Vaishya and Shudra. Suttavibhanga describes builders and wheelwrights built-in to Shudra father and Brahmin mother, who past later texts would be described every bit untouchables.^[ane] The goldsmiths of Maharashtra included children born in cattle herding families. At that place is no detail degree or community in Assam Valley that is exclusive to traditional crafts such as bamboo and cane. Information technology is done by especially the peasants irrespective of caste, customs or creed.^[29]

Apprenticeship

Apprentices joined and trained under masters. The best were adopted and recognised as members of various art guilds.^[1] The training began from babyhood, and included studies about dharma, culture, reading, writing, mathematics, geometry, colors, tools, as well as trade secrets – these were chosen Tradition.^{[1] [30]}

Guilds

Shilpins had formed śreṇi (guilds) in ancient Bharat. Each guild formed its own laws and code of conduct, one the ancient Hindu and Buddhist kings of India respected by tradition. In some cases, the king established the laws of the guilds;^[31] in some cases, the king's treasurer had the last word and served as judge of diverse guilds in a kingdom.^[32] These guilds, in the 1st millennium BC, included all those who practised the art irrespective of the creative person's caste or creed.^[33] The income of each social club came from fees paid by new members joining the guild, from fines on those violating the code of comport established by the gild, and levies on tools used for that art. The guilds as well performed clemency and gifted collective works of art by their members to temples and other social works.^[33] During festivals and social celebrations, each guild would contribute their own operation and pavilions with flags and emblems.

Art is spiritual

Creative work and artists were granted the sanctions of a sacrament in aboriginal Indian culture, states Stella Kramrisch.^[30] An artist expresses the spiritual and holiness in his or her art. This conventionalities continues to manifest itself in modern Republic of india in the form of rituals, where in an autumn festival (Dashahra), craftsmen in parts of India worship their tools with incense, flowers and unhusked rice.

Brhat Samhita at verses 57.10-11 describes the practice of carpenters offering prayers and seeking forgiveness of a tree before cutting information technology for wood. The axe used to cut the tree would be rubbed with honey and butter to minimise the injure to the tree which was considered to be a living being. Arts and crafts was seen as application of essence of Purusha (Universal Principles) to parts of nature so as to transform it into a work of art.^{[34] [35]}

Treatises on Shilpa Shastras [edit]

Some known Shilpa Shastras-related manuscripts include:^{[36] [37]}

• Mayashastra (image printing, wall decoration)
• Bimbamana (painting)
• Shukra-Niti (pratima – murti or vigraha making, icon pattern)
• Suprabhedagama
• Vishnu dharmottara purana (literature, music, theatre, trip the light fantastic, painting, sculpture, iconography, architecture)
• Agamas (accept chapters on other shilpa shastras)
• Agni purana (iconography)
• Brahmanda purana (mostly architecture, some sections on arts)
• Vastu vidya
• Pratima lakshana vidhanam
• Gargeyam
• Manasara (many capacity on casting, moulding etching, polishing and making of arts and crafts)
• Atriyam
• Pratima mana lakshanam (includes capacity on repair of broken idols and art works)
• Dasa tala nyagrodha pari mandala
• Sambudhabhasita pratima lakshana vivarana nama
• Mayamatam (structure – compages, vehicles, etc.)
• Brhat Samhita
• Shilpa ratnam (Purvabhaga volume has 46 chapters on arts and construction of business firm/towns, Uttarabhaga has 35 chapters on sculpture, icons and related topics of smaller scale)
• Yukti kalpataru (various arts, including jewelry)
• Shilpa kala darsanam
• Samarangana Sutradhara
• Vishva karma prakasam
• Matsya purana
• Garuda purana
• Kashyapa shilpashastra
• Bhavishya purana (mostly architecture, some sections on arts)
• Alankara shastra
• Artha shastra (full general crafts such equally windows and doors, likewise equally public utilities)
• Chitra kalpa (ornaments)
• Chitra karmashastra
• Maya shilpashastra (in Tamil)
• Vishvakarma shilpa (arts on columns, wood working)
• Agastya (wood based craft)
• Mandana Shilpa Shastra (diya, lamps related crafts)
• Ratna shastra (pearls, string, jewelry crafts)
• Ratna pariksha (jewelry)
• Ratna samgraha (jewelry)
• Laghu ratna pariksha (jewelry, lapidary)
• Manimahatmya (lapidary)
• Agastimata (lapidary crafts)
• Anangaranga (erotic arts)
• Kamasutra (artistic activities)
• Rati rahasya (erotic arts)
• Kandarpa chudamani (erotic arts)
• Natya shastra (theatre, trip the light fantastic toe, music, fragments on painting and sculpture)
• Nrttaratnavali (crafts for fashion and public performance)
• Sangita ratna kara (crafts for fashion, dance and public performance)
• Nalapaka (nutrient, utensils, and culinary crafts)
• Paka darpana (food, utensils, and culinary crafts)
• Paka vijnana (food, utensils, and culinary crafts)
• Pakarnava (food, utensils, and culinary crafts)
• Kuttanimatam (textile arts)
• Kadambari by Banabhatta (chapters on textile art and crafts)
• Samaymatrka (textile arts)
• Yantra Kosha (musical instruments, Overview in Bengali Linguistic communication)
• Sangita ratna kara (music crafts)
• Śilpa-ratna-kośa (architecture, sculpture)
• Cilappatikaaram (a 2d-century Tamil archetype on music and dance, sections on musical instruments)
• Manasollasa (craft relating to musical instruments, cooking, textiles, decoration)
• Vastuvidya (sculpture, icons, painting, and small arts and crafts)
• Upavana vinoda (Sanskrit treatise on arbori-horticulture arts, garden house design, aspects of firm plants related crafts)
• Vastusutra Upanishad (oldest known Sanskrit Shilpa Shastra text, 6 chapters, deals with epitome making, describes how image arts are means of communicating emotions and spiritual freedom).

See as well [edit]

• Vishwakarma
• Hindu iconography
• Hindu temple
• Murti
• Talamana
• Vaastu shastra

References [edit]

1. ^ ^{a b c d e f g h i} Stella Kramrisch (1958), Traditions of the Indian Craftsman, The Journal of American Folklore, Vol. 71, No. 281, Traditional India: Structure and Change (Jul. - Sep., 1958), pp. 224-230
2. ^ Sinha, A. (1998), Pattern of Settlements in the Vaastu Shastras, Journal of Cultural Geography, 17(two), pp. 27-41
3. ^ For Śilpa Śāstras as basis for iconographic standards, see: Hopkins, Thomas J. (1971). The Hindu Religious Tradition. Belmont, California: Dickenson Publishing Company, p. 113.
4. ^ Misra, R. North. (2011), Silpis in Aboriginal Republic of india: Across their Ascribed Locus in Ancient Society, Social Scientist, Vol. 39, No. 7/8, pages 43-54
5. ^ M. Chandra (1973), Costumes, Textiles, Cosmetics and Coiffures in Aboriginal and Medieval India, Delhi, OCLC 251930242
6. ^ Śilpin Sanskrit English Dictionary, University of Koeln, Germany
7. ^ Śilpini Sanskrit English language Lexicon, University of Koeln, Germany
8. ^ Mary-Ann Milford-Lutzker, Intersections: Urban and Hamlet Art in India, Art Periodical, Vol. 58, No. 3 (Autumn, 1999), pp. 22-30
9. ^ Martin Haug (1922), Aitareya Brahmanam of the Rigveda, The Sacred Books of the Hindus, Allahabad, University of Toronto Archives, 6th Volume, Chapter 5, pages 288-300
10. ^ Stella Kramrisch (1958), Traditions of the Indian Craftsman, The Journal of American Folklore, Vol. 71, No. 281, (Jul. - Sep., 1958), pp. 224-230
11. ^ Vatsyayana, Kamasutra I.three, Jayamangala
12. ^ Vatsyayana, Kamasutra, Volume I, Chapter 3
13. ^ Isabella Nardi (2006), The Theory of Citrasutras in Indian Painting, Routledge, ISBN 978-0415391955, pages 180-187
14. ^ S. Dabhade, The Technique of Wall Painting in Ancient India at Google Books, pages 7-12
15. ^ Isabella Nardi (2006), The Theory of Citrasutras in Indian Painting, Routledge, ISBN 978-0415391955
16. ^ ^{a b c d east f} B. Ravi (2003), Investment casting development - Ancient and Modern Approaches, National Conference on Investment Casting Central Mechanical Applied science Research Institute, Durgapur, IIT Bombay
17. ^ ^{a b} Isabella Nardi (2009), Re-evaluating the Role of Text in Indian Fine art - Towards a Shastric Analysis of the Image of Shri Nathji in Nathdvara Miniature Painting, Southern asia Research, July, vol. 29, no. 2, pages 99-126
18. ^ Ram Raz, Henry Harkness (1834), Essay on the Compages of the Hindus at Google Books, pages 3-6, (footnote on page 4)
19. ^ Naoki Ideno (2007), The Artisans' Duty and Ability in Shilpa-Shastras, Periodical of Indian and Buddhist Studies, 55(ii), pages 788-784
20. ^ R Vyas (1992), Nature of Indian Culture, South Asia Books, ISBN 978-8170223887, pages twenty-21
21. ^ C. Purdon Clarke (1883), Some notes upon the Domestic Architecture of India, The Journal of the Society of Arts, Vol. 31, No. 1594 (JUNE 8), pages 731-756
22. ^ ^{a b} R Balasubramaniam (1998), The decorative bell capital of the Delhi iron pillar, JOM, 50(three): 40-47, doi:x.1007/s11837-998-0378-3
23. ^ Hans Losch, Sources of Sri Kumara's Shilparatna, Anal. Bhandarkar Orient. Res., Vol. 31, pages 152-164
24. ^ While Manasara, sometimes spelled Manava sara, has extensive discussions on architecture, guidelines for ancient village and town planning, it has section on metallic art works besides; See: Koenigsberger (1952), New towns in India, Town Planning Review, 23(2): 95-99; Acharya (1933), Manasara on Architecture and Sculpture, Mansara Series 1-4, Oxford University Printing - A version was reprinted in 1995 as ISBN 978-8186142721
25. ^ Pupul Jayakar(1984), Metal Casting from Kerala, India International Centre Quarterly, Vol. 11, No. 4, Blueprint: TRADITION AND Change (December 1984), pp. 63-68
26. ^ Kirk, W. (1975), The role of India in the diffusion of early on cultures, Geographical Journal, Vol. 141, No. 1, nineteen-34
27. ^ Stella Kramrisch, The Hindu Temple, Vol one, ISBN 978-81-208-0222-3
28. ^ Baudhayana, XXV.13.22
29. ^ "Bamboo and Cane Culture of Assam | IGNCA". Archived from the original on 2021-08-29.
30. ^ ^{a b} Stella Kramrisch, The Hindu Temple, Vol 1, Motilal Banarsidass, ISBN 978-81-208-0222-3
31. ^ Manusmriti VIII.41
32. ^ Nigrodha Jataka Half-dozen.427
33. ^ ^{a b} Stella Kramrisch (1958), Traditions of the Indian Craftsman, The Periodical of American Sociology, Vol. 71, No. 281, Traditional India: Construction and Change (Jul. - Sep., 1958), pp. 228
34. ^ Stella Kramrisch, The Hindu Temple, Vol 1 & ii, Motilal Banarsidass, ISBN 978-81-208-0222-three
35. ^ Heather Elgood (2000), Hinduism and the religious arts, ISBN 978-0304707393, Bloomsbury Academic, pp 121-125
36. ^ Acharya P.G. (1946), An Encyclopedia of Hindu Architecture, Oxford Academy Press
37. ^ Bibliography of Vastu Shastra Literature, 1834-2009 CCA

Farther reading [edit]

• Isabella Nardi (2006), The Theory of Citrasutras in Indian Painting, Routledge, ISBN 978-0415391955
• Alain Daniélou, Virtue, Success, Pleasance, and Liberation: The 4 Aims of Life, ISBN 0-89281-218-4 - Chapter "The Thirty-two sciences" on Shilpa Shastra
• Due south. Dabhade, The Technique of Wall Painting in Ancient Republic of india at Google Books
• P. 1000. Acharya, Indian Compages according to the Manasara Shilpa Shastra, All 6 volumes, London (1927).
• Dr. G.Gnanananda, "Sri Kashyapa Shilpa shastram (Uttarardha)-1998, Karnataka Shilpakala Academy Publication, "Sri Kashyapa Shilpa shastram (Poorvardha) Volume - one, 2004 , Book -ii, 2006- Karnataka Shilpakala Academy Publication.
• P.N. Bose, Principles of Indian Shilpa Shastra with text of Mayamata, Oxford University Press
• D.N. Shukla (1967), Shilpa Shastra, Vastuvanmaya Prakashan, Lucknow
• Pillai, G. K. (1948). The style of the silpis: Or, Hindu approach to fine art and scientific discipline. Allahabad: Indian Press, OCLC 4483067
• 5.S. Agarwala, The Heritage of Indian Art, Bombay (1964)
• Dr G.Gnanananda, "Sri Brahmeeya chitrakarma shastra ( 5 Volumes), Sanskriti Sahithya Pratisthana, Publications, Bangalore. Translated into Kannada and published in v volumes, source of information on Vaishnava Shilpa Shastra. # 1300 Pages.
• T. Finot (1896), Les lapidaires indiens, (in French)
• Dr Yard Gnanananda, "Paramparika Shilpa: Nenne-Naale (2011-3rd publication)", Sanskriti Sahithya Pratisthana, Publications, Bangalore - This book is a report of traditional sculptures and Temple Architectures.
• Dr G Gnanananda, "Aalaya Darshana - A Book 12.describing mysticism and symbolism involved in Dravidian Temple. (2013, 2019) -Karnataka Shilpakala University Publication.
• Vastu-Shilpa Kosha, Encyclopedia of Hindu Temple architecture and Vastu/South.Thousand.Ramachandara Rao, Delhi, Devine Books, (Lala Murari Lal Chharia Oriental series) ISBN 978-93-81218-51-eight (Set)
• Hopkins, Thomas J. (1971). The Hindu Religious Tradition . Belmont, California: Dickenson Publishing Visitor.
• Amita Sinha, Design of Settlements in the Vaastu Shastras, Periodical of Cultural Geography, Vol. 17, 1998.
• Dr G Gnanananda, "Shilpaadarsh Volume-one (1999)", "Shilpaadarsh Volume-2 (2002)", Published by Hampi Academy.

External links [edit]

• Manasara (English language translation) by Prasanna Kumar Acharya, 1933 (includes glossary)
• Media related to Shilpa Shastras at Wikimedia Eatables

jacksonhipen1937.blogspot.com

Source: https://en.wikipedia.org/wiki/Shilpa_Shastras

Share this post