8. Conventions in the Proportionate Measurement (in painting)

Pramana or proportionate measurement is also a very essential element in the art of painting. There are also certain conventions in the proportionate measurement which have to be observed. These are clearly presented by the Visnudharmottara. 57 in giving the details of appearance, the Visnudharmottara describes the different types of men. There are five standardized types of men called mahsa, Bhadra, Malavya, hucaka and Sasaka. The other types are vividly described in movements, habits and features, peculiar to their class, and most of them belong to one of the five standardized types of men. There respective measurements should be 108, 106, 104, 100 and 90 Angulas. According to Brhat Samhita, their respective measures are 108, 105, 102, 99 and 96 Angulas.

- 274 - 58 In Chapter 36, Visnudharmottara has described the measurements of the Hamsa type in detail. It is of the uttama nevatala type. The whole body from head to foot is nine talas in height. The space covered by 12 Angulas is called a tala. It is said that the artist should infer the measurements of others in accordance with the measurements of Hamsa. As regards breadth and circumference they are all equal. It is also stated that the measurements should be consistent with their own respective measurements ('Svamanasyanusaratah'). The Visnudharmottara also describes five types of women, the varieties of hair and shapes of eyes. Varieties of hair like long and fine, curling to right, wavy, straight and flowing, curled and abundant and mane-like are enumerated. It is further said that the hair should be represented auspicious, fine, resembling the deep blue sapphire and adorned by its own greasiness. Shapes of eyes are described as bow shaped, like a petal of the blue lotus, like the abdomen of a fish, like a petal of the white lotus, globular, like the form of a grindstone. Again in the next chapter Markandeya says that, the eye becomes charming when it is like the blue lotus petal, red at the corners and with black pupils, smiling, gentle and ending in long eye lashes. 59 Dr. Priyabala Shah has compared the information of our text with the actual remains of painting at Ajanta and Bagh and has found that many items in the text have been illustrated

- 275 - 60 in these paintings. The five types of men described in Ch. 35 viz. Hamsa, Bhadra, Malavya, Rucaka and Sasaka as well as the five types of women described in Ch. 37 can be illustrated from the great variety of men and women depicted in the above mentioned frescoes as well as in other paintings. For example, the prescription - a women standing near a man should be in height up to the shoulder of man can be illustrated in many of these paintings, so also many other details of the different parts of the body of men and women. Characteristics of Cakravartins like webbed fingers of hands and feet, a tuft of hair between the two eyebrows can also be illustrated in paintings and sculptures of Gupta period. Similarly a study of paintings would show that the illustrations of our text regarding the postures, the Mudras or hand poses, rasadrstis sentiments and moods expressed by eyes, and many such artistic observations are carefully followed. The conventionalism in Indian painting was guided by the proportionate visualisation in the representation of the various beings and objects. The body of a deity should be of the size of a Hamsa. In the representation of Rsis, Devas, Gandharvas, Daityas, Danavas, Kinnaras, Aings, Ministers, Brahmins etc., separate measurements of each of them and their similarity with five types of men are discussed and the special distinguishing characteristics are enumerated in detail. On this subject there is a separate and detailed section entitled 61 'Rupanirmana'