CHAPTER-5
CRITICAL AND AESTHETICAL STUDY OF PAINTINGS OF B40
Historically, Aitareya Brahmana mentioned „art as a means of culturing one‟s own
self‟. It has been also specified that along with art, feelings and emotions also evolve;
especially, the intellect of a person improves greatly. As a matter of fact, art means that
“one could discipline, purify, sharpen and refine one‟s senses and sensibilities, feelings
and emotions, perception of and responses to ideas and ideologies, facts and objects,
events and situations, etc”. In Vedic Sanskrit, the word cultivation means Krshti which
is as old as Atharvaveda. Krsh means „to cultivate‟. Krshti means “cultivation or
culturing one‟s soil of life”.1
Art has the power to create an impression on the common man, because it is a
creation of human being. Every art is created with a particular aim in view. Art is the
product of human will itself, as the same arises from his needs and wishes. This will
power leads to the creation of art. The central idea of any art and language is to do
something for society. Many art historians are of the view that art, in fact, in a way, is a
sort of documentation and a source of information.2
Art is of great help to any particular person in understanding situations presented
by an artist, giving horizon to his vision along with bringing about an improvement in
his personality. At the same time, it helps to give additional depth to the field of
experience of the viewer.3 The Janam Sakhi art, too, made its beginning in the society
with a particular aim in view. It is commonly said that art influences the common man
quickly. In the same way, the Janam Sakhi manuscripts had the capacity or power to
guide the people who were fearful and apprehensive of living in the adverse times full
of turmoil and seemed to have lost rightful path of life and tried to rejuvenate in them
the feeling of humanity. By depicting the teachings of Guru Nanak in paintings, the
1
Ray,Niharranjan., (1974), An Approach to Indian Art, , Publication Bureau, Punjab University
Chandigarh, P. 204,208.
2
Jansen, Charles R., (1986), Studying Art History, Prentice-Hall, Englewood Cliffs, New Jersey 07632,
America, P.8.
3
Ray,Niharranjan., (1974), An Approach to Indian Art, Publication Bureau, Punjab University,
Chandigarh, P.87.
115
Janam Sakhis brought culture to the people and taught them the lessons of brotherhood
and non-violence.
In the present context, culture means the improvement of a person at the
physical and intellectual level or alternatively at religious or spiritual level or
improvement of the soul.4 The traditional art has been comprehensively recognized as
human art which had existed at all times to express and communicate the ideas.5
Art, in fact, is a feeling, a communication or an enjoyment, which is intimately
in contact with society and tradition, and grows from there itself. Art plays an important
and basic role in the evolution of society and tradition. It can never be divorced from it.
Art is an effective tool in the hands of society which can change the mind, values, faith,
wishes and attitude of any person. Art helps a person to maintain peace and harmony
with the world. Art (Kala), in fact, is a Sanskrit word which means growing from roots
(kal). It means to inspire and to motivate and to achieve bliss thereafter. 6 A close
examination reveals that all these qualities are present in Janam Sakhi paintings. These
paintings changed people‟s attitude to bring in and awaken a new faith whose very aim
was society‟s welfare. Further, these painting created a feeling of peace and tranquility
among the people.
Along with society‟s welfare, the main function of art is to create a unique state
of pure well being which initially is the source of bliss for the artist himself and
subsequently for the beholder. At the same time, art‟s immediate function is to
aesthetically inundate human senses and psyche with bliss and attract people to itself.
However, more important than this is that art should be able to create a state whereby
man is able to realize a state of oneness with the universe, this being the cosmic
principle. This leads his mind and soul to the path of liberation or Moksha.7 In the field
4
Ray,Niharranjan., (1974), An Approach to Indian Art, Publication Bureau, Punjab University,
Chandigarh, P.210
5
Coomaraswamy,A.K.,(1986), Traditional Art and Symbolism:Selected Papers (Lipsy,Roger.ed)
Bollingen Series LXXXIX, Oxford University Press, Delhi ,P.50
6
Veereshwar,Prakash, Sharma,Nupur., (2001), Aesthetics-Philosophy of Art, Krishna Prakashan Media
(P) Ltd., Meerut, P.3.4.5.
7
Ray,Niharranjan., (1974), An Approach to Indian Art, Publication Bureau, Punjab University,
Chandigarh, P. 103, 106.
116
of art, it is necessary to work skillfully and remain in synch with its principles, involve
the use of intellect so that senses and sensibilities are satisfied, and can convey one‟s
feelings and create a specific experience.8
The main aim of the writers of B40 Janam Sakhis was to confer the people with
a kind of art to which they would be instantly attracted and would understand and
eventually adopt. Gradually, they would begin following god‟s given path which leads
to goal of liberation or salvation. The B40 Janam Sakhis have admirably fulfilled this
Indian feature because it has been the aim of traditional Indian art, that one should attain
salvation after gaining knowledge and boundless bliss. These paintings allowed the
people not only to enjoy the feelings of spiritual bliss but also showed them the right
path.
When art engages itself in a specific activity, it becomes a meritorious art.
According to Aristotle, the function of art in a way is to produce pleasurable and
cathartic effect. Freud, Marx, Ortega, Arnheim and Langer, all were of the view that art
should serve psychological and social ends. When art becomes alive or active to any
particular theme, it begins to function on a merit base. Tolstoy also was of the view that
a good art is one which can express emotional morals. Art should always give impetus
to the well being of man, society and humanity. If art is done only for the sake of art, it
would mean that the artist is in no way concerned for the common man.9 Thus it
becomes clear that the Janam Sakhi paintings have all these qualities, because the very
aim of Janam Sakhi paintings was the welfare of society and humanity. These paintings
are considered as meritorious art.
The scholars are of the view that art, in fact, may have any aim but it should not
be without aim. It means that art is a beautiful means to achieve a particular goal.10
According to Rig Veda, all truth, goodness and beauty originate from god. Art is eternal
and unending. Art is only the depiction of consciousness of beauty of god. According to
8
Ray,Niharranjan., (1974), An Approach to Indian Art, Publication Bureau, Punjab University,
Chandigarh, P.40.
9
Cooper,David (ed)., (1992), The Principles of Art, Glaxy Book-Oxford University Press, USA,
P.163,164,165.
10
Shulk,Ram Chander., (1964), Kala Ka Darshan, Karona Art Publishers, Meerut, P.180.
117
Indian thought, art showcases god in its many overt and covert forms. It brings out the
internal beauty residing in man. In particular, it gives to god a form conceived by the
mind of the artist.11 Indian art got its birth from religion itself. As discussed in the
previous chapter, the only aim of art, after the prehistoric times, was religion. Buddhism
maintained its primacy in India for centuries. As a result, Buddhism remained the main
subject matter of art till the 11th C.A.D. Even after that, art was wholly concerned with
religion which was basically inspired by Hinduism.
The feelings and imagination of man, when combined with a creative urge, give
birth to art. When feelings merge with faith they become religion. Religion and art often
grow in tandem and also support each other in the evolution of society. In a way, art and
creativity create a relationship between the natural world and the inner spiritual world.
This relationship helps in spreading the mutual harmony between nature and humanity.
Art has been the best form of communication, right from the time when language and
script had not come into existence. Art and religion, both have the power to bring about
a change by eliminating human ego.12 Indian art has always been influenced by
literature. Just as the renaissance masters started painting the New Testament, in the
same way, the Indian painters adopted the Hindu epics as the main subject matter. They
depicted religion as a visual reality in such a way that even the illiterate persons could
easily comprehend it.13
Apart from it, even historically, a significant role has been assigned to art to
make religion more lively and interesting. In most of the countries, the ancient art made
progress only when it intimately merged with religion. The whole of ancient Indian art
was inspired by religious feelings. The artists of those times were also mostly religious
persons who had a complete knowledge of Shastras and Puranas. In the Shastras,
whenever the subject of personification of God & Goddesses came under consideration,
11
Veereshwar,Prakash, Sharma,Nupur., (2001), Aesthetics-Philosophy of Art, Krishna Prakashan Media
(P) Ltd, Meerut,P.7.
12
Veereshwar,Prakash, Sharma,Nupur., (2001), Aesthetics-Philosophy of Art, Krishna Prakashan Media
(P) Ltd., Meerut, P.13.15.
13
Randhawa, M.S and Galbraith, John Kenneth., (1982), Indian Painting, The Scene Themes and
Legends, Bombay Vakils, Feffer and Simons, Bombay, P.2.
118
the artists were under instructions to concentrate or meditate at first and then to research
the form or image of the subject under consideration. From the very traditional times,
greater emphasis had been on inner rather than outer imagery.14
Among the Indian artists, the tendency to emphasize beauty of external form had
never been alive. Whenever the artists selected a representative form or subject in
religion, the main consideration or aim was to express inner awareness rather than
external perfection. It was neither their tendency nor their aim to depict human body in
perfect proportion.15 Their aim was to express their inner spiritual form in which the
expression of external beauty was not necessary. The Janam Sakhi artists, too,
personified Guru Nanak through the application of their minds; he who resided in the
hearts of his disciples. Because this Janam Sakhi tradition came into existence in the
written and illustrated form one hundred years after the demise of Guru Nanak,
therefore the people of contemporary times had no knowledge of his persona. The form
of Guru Nanak that started to develop and took shape from oral tradition, became
engraved in the minds of people. The artists brought to life the same image or form.
“Asceticism and self-denial in various forms are praised in Indian religious
literature”.16 When an artist perceives an idea in his mind for a new creation he tries to
detach from the outer world and control his desires unrelated to his creation. There is no
difference between an artist and or a religious person. Both beautify and decorate their
world in their own way. Both rise above the level of self interest and try to contribute to
the humanity at large. Man understands the language of art very well. Art presents
before us those images and natural symbols of the tribe, society, family and the world
through which we breathe or live and exist. When persons of religious inclination come
to know the artistic interests of the people, they make use of the same images, motifs,
etc., and try to create a religious inclination in the subconscious mind of the people in
14
15
Shulk,Ram Chander., (1964), Kala Ka Darshan, Karona Art Publishers, Meerut, P.87,88,89
Jhanji,Rekha(ed)., (1984), Communications and the Arts, Ajanta Publication, Delhi, P.11,12.
16
Basham,A.L.,(1967) The Wonder that was India, (First edition 1954), Sidgwick and Jackson, London,
P. 349.
119
the very language of the people, because only religion brings forth the tender feelings
reside in it.17
The whole of ancient Indian painting and sculpture had evolved on religious and
philosophical principles only. They gave to the whole world a highly emerging art.
Since ancient times, religion and art had a single goal which was the attainment of
salvation (liberation).18
It was mainly art which was instrumental in propagating
religion to the common mass. Janam Sakhi paintings are a very apt example of this.
Their main aim was the propagation of Sikh doctrines or Sikh religion. This was of
great importance for the people of that time who had been adversely affected by the
prevailing disturbed conditions as the people had become enemies of each another. It
was religion which was successful in rescuing man from the darkness of ignorance and
guided him to the right path. The Janam Sakhi paintings made a great contribution in
this.
An artist can be considered a true creator when he is fully successful in leaving
an impact on the viewers. Only that creation will be entitled as a work of art which is
able to give the people, the results they want. In fact, art is an expression of emotions or
language. The artist is the only person through whom the thought can be easily
conveyed to the people. However, the question arises as to why the artist takes
responsibility to establish contact with the viewers? In fact, many artists feel that it is
their moral duty to convey to other people their personal valuable experiences. In other
words it can be said that in order to give the aesthetic experience to the viewers that he
had, the artist acts like a salesman or a missionary. A painted canvas or a carved stone
has so much power that it awakens an aesthetic experience in a willing viewer. 19.
In reality, what is an aesthetic experience? It is the experience when the creation
of an artist reveals that beauty which gives social message to the viewer, the society and
the artist along with its aesthetic elements, play an important role in social service. This
17
Chaman,Saroj., (2009), Soundriya Shastra, Publication Bureau, Punjabi University, Patiala, P.219,220.
18
Shulk,Ram Chander., (1964), Kala Ka Darshan, Karona Art Publishers, Meerut, P.90.
19
Collingwood, R.G., (1968), The Principles Of Art, Galaxy Book, Oxford University Press, USA, P.
300,301.
120
beauty is not based on external form. Again, it is not essential that the piece of art or
inspiring element of art should have external beauty. The necessary part is that the
beauty which the artist conceives during the execution of the art piece and the viewer or
the beholder experiences thereafter. This state is called aesthetic experience.
For Hegel, aesthetics means beauty of art and not the natural beauty. For him,
religion is not basically mysterious, but is a means to enlighten the mind. When art and
religion mingle, the result is aesthetic pleasure.20 A real artist is one who gives
expression to emotions or feelings in an unambiguous manner. An executor of a work
of art is called its creator and when a viewer looks at that piece of art, he becomes its
co-creator. In this way, the artistic creation becomes the common creation of both the
executor and the viewer. In the words of Tolstoy, art is a human activity in which an
artist lives the emotions of others, and other people or spectators are also affected by
these feelings, and experience the same emotions. According to him, art in a way is also
a moralistic theory which serves the purpose of binding the people together in a
universal brotherhood.21
It is generally accepted that art has three main purposes. First, it should be
pleasurable for the senses and psyche, and should be able to attract anyone. Second, it
should be capable of producing an atmosphere or feeling of delight (anandam). Art, in
fact, is a moral activity too which helps in satisfying the ego of any person. Third, it
should lead the artist and the viewer away from their realm to a place where he can
experience cosmic phenomenon.22 Janam Sakhi artists brought themselves to the level
of a common man and then created this art. This made it easy for the common man to
understand it because this art had the quality of attracting people. Moreover, it was a
wholly useful art which in addition to give joy to the people also conveyed to them an
important message.
20
Cooper,David E(ed)., (1992), The Principles of Art, Glaxy Book-Oxford University Press, USA,P.184.
21
Cooper,David E(ed)., (1992), The Principles of Art, Glaxy Book-Oxford University Press, USA,
P.70,144,296.
22
Ray,Niharranjan., (1974), An Approach to Indian Art, Publication Bureau, Punjab University,
Chandigarh, P.110
121
A true artist is like a yogi (the person who renounces the world) who through self
discipline attains a state of detachment. In this state, his mind is concentrated on an
invisible force. Now nothing whatsoever can be an obstacle in his creativity23. The art
resulting from such single-minded, self disciplined creativity is a pure art form which
makes the viewers a partner in its spiritual enjoyment.
When an artist grasps an emotional idea on a spiritual level, he honestly follows
the arrangement of line, mass, colour, posture and movement in this art work according
to the Indian canons. During his creative activity he never forgets that all these canons
are there only to help him to depict the emotions of ultimate spirituality and infinite
spirit.24 The aim of Indian art has always been to depict figures spiritually and
symbolically. The importance of appearance of figures has been through visual
presentation.25
It is not necessary that this visual presentation should be beautiful and fully
proportionate as per the Greek ideas. In Greek art, outer beauty has been considered to
be sacrosanct. However, in Indian art, symbolic proportion has been used. In Indian
notions, the meaning of beauty has been inner breath (prana). This concept or definition
of beauty is not confined to India only as many internationally eminent philosophers
have given different kinds of theories of beauty which have the same theme.
Croche considers beauty to be hyphenated to inner knowledge. Emerson says
that beauty is God‟s signature. According to Kant, beauty is undistinguished (kamrahit)
definition of joy. Beauty is in the mind of the beholder and not in the object.26 Kant also
said that something that is a component of universal pleasure that is beautiful. Beauty or
aesthetic production has four stages: 1.Impressions 2. Expressions or combination of
spiritual and aesthetic 3. Aesthetic pleasures 4.Translation of aesthetic fact into physical
23
Chaman,Saroj., (2009), Soundriya Shastra, Publication Bureau, Punjabi University, Patiala, P.223.
24
Vatsyayan,Kapila.,(1968), Classical Indian Dance In Literature and the Arts, Sangeet Natak Akademi,
Rabindra Bhavan, Ferozeshah Road, New Delhi, P.8.
25
Vatsyayan,Kapila.,(1968), Classical Indian Dance In Literature and the Arts, Sangeet Natak Akademi,
Rabindra Bhavan, Ferozeshah Road, New Delhi, P.17.
26
Chaman,Saroj., (2009), Soundriya Shastra, Publication Bureau, Punjabi University, Patiala, P.149,151.
122
phenomena (sound, tones, movements, combination of line and colour, etc.). 27
In
Indian art, besides these different definitions of beauty and norms, another theory that
has always been given primacy has been of „Satyam Shivam Sundram’.
Since Vedic times, the components of „Satyam Shivam Sundram’ have got
amalgamation. In Indian art, the bliss is attained by combining these three features.
Even if one of the three features is missing, the creation cannot be joyful. In the Indian
thought, real beauty is something when „Satyam Shivam Sundram’ is enshrined in it. It
means that only that can be beautiful which is true and also has goodness, culture and
spiritualism. The beauty which is perishable and not for the welfare of human being,
cannot be ideal in terms of real sense, because such beauty can never be of any use and
surely it cannot be a source of joy.28
In spiritual philosophy, along with „Satyam‟ and „Sundram’, „Shiva‟ too is an
essential component of art. „Shiva‟ means the soul. Art which does not make the viewer
realize the presence of conscious of soul in it, cannot be considered as an elevated art.
In fine arts, soul is considered to be extremely important along with truth and aesthetic
beauty. „Shiva‟ or goodness has often been thought of as morality. What is joyful and
good is moral as well.29 In Indian art, inner beauty has always been more important than
outer beauty. In Janam Sakhi paintings, this feature can be easily felt. In addition to the
elements and principles of art, more importantly, these paintings inculcate the aspects of
„Satyam Shivam Sundram’ because it was a true art and not falsehood or deception. The
Janam Sakhi paintings are a beautiful illustration of spirituality and teachings of Guru
Nanak. Janam Sakhi paintings create a feeling of inner affinity or soul. The soul means
„Shiva‟. So, what is true is also „Shiva‟, and what is „Shiva‟ will naturally be beautiful.
What is the real meaning of this beauty? Obviously it is not the outer beauty,
then how else could one define beauty? As a matter of fact, in Indian terminology, the
27
Croce,Benedetto., (1920), Aesthetic:As Science of Expression and Linguistic (Translated from the
Italian by Douglas Ainslie), Published by D, Mehra, Rupa and Co., Calcutta, P.280,96.
28
Shulk,Ram Chander., (1964), Kala Ka Darshan, Karona Art Publishers, Meerut, P.108.
29
Shulk,Ram Chander., (1964), Kala Ka Darshan, Karona Art Publishers, Meerut, P.122.
123
beauty is called „rasa’ which is nothing else but a feeling. „Rasa‟ is a peculiar concept
of Indian aesthetics which can be called a counterpart of spiritual „ananda‟. The concept
of „rasa‟ is both spiritual and aesthetic. When an artist or a spectator experiences a
blissful state, his mind is filled with boundless joy. At this stage, „rasa‟ is initiated. The
bliss which he partakes at that time, the same is called spiritual „ananda‟ or rasa.30
„Rasa‟ is a wonderful and unique concept of Indian aesthetics. This theory of
„rasa‟ had been evolved even in the ancient times in India. According to Indian
thinkers, „rasa‟ is an internal experience which is nothing else but spiritual joy. 31 This
aesthetic experience changes the complete personality of a human being because the
real goal of art is aesthetic delight. This rasa can be attained when the feelings are
purified, by using imaginative powers of the viewer.32
Art work can be termed as „rasavant‟. The viewer who enjoys „rasa‟ of art is the
„rasika‟ and the joy of aesthetic emotions that prevails during the process or that state
which has been carefully thought of and understood is technically called „rasavadana‟.
When an artist creates a work of art, he does not know whether or not his art creation
will generate „rasa‟ for the critics. However, he is greatly attached to or is in love with
his theme and he devotes all his positive feelings to give shape to his theme. Later on,
the work of the artist, done with a true feeling, becomes a source of „rasa‟ for the
„rasika‟.33
A good deal of change occurred in the society due to the Janam Sakhi paintings
because the artists of these paintings first lived through the spiritual delight themselves
and then presented it on to the people. The „rasa‟ which was the result of pure thoughts
lead (led) them to an aesthetic experience along with a spiritual delight. Due to these
experiences, the people gradually started to come out of adverse effects of the bad
30
Chaudhary,Angraj.,(1991), Comparative Aesthetic:East and West, Eastern Book Linkers.,Delhi,
P.52,44,45.
31
Chaudhary,Angraj.,(1991), Comparative Aesthetic:East and West, Eastern Book Linkers, Delhi,
P57,59,74.
32
Veereshwar,Prakash, Sharma,Nupur., (2001), Aesthetics-Philosophy of Art, Krishna Prakashan Media
(P) Ltd, Meerut, P.28.
33
Anand,Mulk Raj.,(1987), The Hindu View of Art, Gulab Vazirani for Arnold-Heinemann Publishers (i)
Pvt. Ltd., New Delhi, P.81,83.
124
conditions prevailing at that time. A piece or work of art is not considered successful
until it is able to attract the attention of the people. Janam Sakhi paintings attracted the
people very quickly and influenced them fully, both aesthetically as well as spiritually.
At the same time, Janam Sakhi paintings are fully in accordance with the principles of
all the six limbs or canons of Indian art.
5.1 Canons of Indian Art :
The earliest description of the six limbs is found in the Kamsutra of Vatsayana.
However, he did not describe these six limbs in detail. But the critics and
knowledgeable aesthete people of that ancient period knew about these six limbs or
canons. Five hundred years after that, Yashodara Pandit of Gujarat wrote Jayamangala
Tika in which he discussed in detail these six limbs or canons. Particularly, he wrote
this work for the contemporary artists and people who were gradually forgetting these
imperative principles of Indian tradition of art.34 In every era of Indian art, we can see
these principles being used very appropriately.
“Rupa bheda, Pramanam, Bhava, Lavanya-yojanam, Sadrisym, Varnikabhanga, these are the six essential requisites of painting”.35
Ajanta caves are the best example of canon of Indian art. This sholoka also
inspired Mughal, Rajasthani and Pahari art. So how could Sikh art remain unaffected by
ideology propounded by Vatasayana? Janam Sakhi paintings too are a good specimen
of proper usage of these six limbs.
Rupa-bheda: Rupa means form. Bheda means the knowledge of different forms. There
has to be a full knowledge of forms, or there should be an ability to distinguish different
forms from one another. Form does not mean merely to give an external shape to a
figure. Form can be visualized both by the eye and the soul. The eye first sees the form
34
Ray,Niharranjan., (1974), An Approach to Indian Art, Publication Bureau, Punjab University,
Chandigarh, P.133.
35
Anand,Mul k Raj.,(1987), The Hindu View of Art, Gulab Vazirani for Arnold-Heinemann Publishers (i)
Pvt. Ltd., New Delhi, P.109.
125
and then presents it to the soul. This is called rupa-bheda.36 The feature which is the
basis of truth in form is called the rupa. A figure, whether viewed through the medium
of eye or of mind, it is essential to have interest or inclination. It is on the basis of this
interest that we determine whether the form is accepted as good or bad. The simpler and
more natural the form and outline, the better it is. If an art work has this quality, persons
with different inclinations can enjoy it.37 The faculty of deep observation of any object
is developed only the use of insight. The knowledge of this form comes from the use of
minds and inner thinking of person. 38
The main form in Janam Sakhi paintings is that of Guru Nanak. He lived many
years before the time of these artists and writers. These artists did not know the exact
form of Guru Nanak. Even then they did not use any model to execute the form of Guru
Nanak. These artists gave form to the image of Guru Nanak from their perception based
on the description of Guru Nanak in Janam Sakhi literature as also in accordance with
the dominant image that already existed in the minds of people. The community too
accepted this form easily. The form of Guru Nanak has been shown in such an
important figure in paintings that he has acquired a separate identity as compared to
other figures. These artists were experienced painters and they used their imagination to
create the form of Guru Nanak.
Pramanam: The proper knowledge of proportion is called pramanam which is an
important part of painting. In a composition, proper coordination in the allotment of
space to all the forms is essential.39 It is important that all the elements of a composition
such as background, foreground, sky, landscape, figures, etc., should be according to
accepted norms and their importance should be according to the theme of the painting.
This means that the painting should have all elements in a proper proportion and not in
only prominent figure.
36
Veereshwar,Prakash, Sharma,Nupur., (2001), Aesthetics-Philosophy of Art, Krishna Prakashan Media
(P) Ltd., Meerut, P.47.
37
Verma, Avinash Bahadur., (1995), Bhartiya Chitrakala Ka Itihas, Prakash Book Depo, Bada Bazar,
Bareli, P.41.
38
Chaman,Saroj., (2009), Soundriya Shastra, Publication Bureau, Punjabi University, Patiala, P.76.
39
Veereshwar,Prakash, Sharma,Nupur., (2001), Aesthetics-Philosophy of Art, Krishna Prakashan Media
(P) Ltd., Meerut, P.47,48.
126
Ravindra Nath Tagore, in his writings, has expressed his appreciation of the ability of
the artist who can paint a vast ocean and its waves or other landscapes or skyscapes on a
small piece of paper. It is only our power of pramanam which guides us as to what
should be the size or distance (on paper) of a component of painting or how the
pigments are to be applied. The elements of bhava, pramanam and consciousness are
the beautiful mental instruments which assess all those which have limits or are
limitless or are big or small.40
Pramanam is our standard of measuring, viewing and understanding this eternal
world. pramanam not only determines the extent of perspective but it also decides as to
how much part of an object is to be included or excluded in the painting so that the
importance of painting is enhanced and it remains attractive as well. It is, again,
pramanam that determines the various components like what should be the difference in
the ratios of men and women, the arrangement of their body parts, and even the ratios of
the body height of gods, kings and common folks. All these features are the subject
matter of pramanam.41
According to the concept of Indian painting, the main deity or other religious
figures are shown always in hieratic scale so that their relative importance can be
assessed. In Janam Sakhi paintings, too, heretic scale has been used to show Guru
Nanak in higher place and having greater religious importance as compared to others.
Although in many paintings, full use of perspective has not been made, the execution of
subject matter is so good that the deficiency in perspective is not a cause of concern. In
some paintings, Guru Nanak is shown to be as high as the tree under which he is sitting.
However, in such situations, only symbolic use of pramanam has been made which
creates a soothing effect rather than a jarring effect. The various elements in the
painting such as landscape, foreground, birds, animals and human figures, sky,
buildings and, most importantly, the Gurumukhi script written on the painting are
perfectly balanced which is the outcome of pramanam capability of the artist.
40
Chaman,Saroj., (2009), Soundriya Shastra, Publication Bureau, Punjabi University, Patiala, P.78.
Verma, Avinash Bahadur., (1995), Bhartiya Chitrakala Ka Itihas, Prakash Book Depo, Bada Bazar,
Bareli, P.41.
41
127
Bhava: Bhava means the emotions or aesthetic feelings expressed through form.42
These are the main emotions which bring out the quality of that particular art through
form.43 These constitute an important component of a successful painting. Bhava is the
presentation of sentimental grace through posture. When expressions are presented
through form, it is called bhava. There are two types of bhava - overt and covert. Overt
or external bhava can be seen with the eyes but covert bhava or sentiments can be
understood only through heart (feeling) and brain (thinking).44 For example, in Janam
Sakhi paintings, the artists presented the spiritual aspect of Guru Nanak in the garb of a
yogi, which created an overt bhava. But in order to convey that this spiritual aspect of
Guru Nanak was true, the artists depicted, using his posture and face, his inner
piousness and purity of heart in such a way that his true spiritual aspect became visible.
The Janam Sakhi artists were successful in showing Guru Nanak both in overt and
covert form. The chief aim of depicting Guru Nanak in Janam Sakhi paintings was
achieved by the successful rendering of bhava in these paintings.
Lavanya Yojna: Lavanya Yojna is nothing but bringing out in a painting the elements
of allurement, elegance and grace in an artistic way.45 Just as pramanam gives a right
direction to form, in the same way, lavanya yojna produces grace in a painting.
Sometimes, a painting seems to appear coarse due to presence of bhava, lavanya yojna,
however, restores balance by producing charm and grace. The painting, then, becomes
appealing to the beholder. It can be said that amalgamation of all the elements or canons
in a painting results in lavanya.46 For example, if only an ideal image or beauty of soul
has been depicted in form, then external beauty becomes equally important. In other
words, it is important to have proportion and balance. It is also equally considerable to
42
Vatsyayan,Kapila.,(1968), Classical Indian Dance In Literature and the Arts, Sangeet Natak Akademi,
Rabindra Bhavan, Ferozeshah Road, New Delhi,P.18.
43
Anand,Mulk Raj.,(1987), The Hindu View of Art, Gulab Vazirani for Arnold-Heinemann Publishers (i)
Pvt. Ltd. New Delhi, P.110.
44
Veereshwar,Prakash, Sharma,Nupur., (2001), Aesthetics-Philosophy of Art, Krishna Prakashan Media
(P) Ltd., Meerut, P.48.
45
Anand,Mulk Raj.,(1987), The Hindu View of Art, Gulab Vazirani for Arnold-Heinemann Publishers (i)
Pvt. Ltd., New Delhi, P.110.
46
Verma, Avinash Bahadur., (1995), Bhartiya Chitrakala Ka Itihas, Prakash Book Depo, Bada Bazar,
Bareli, P.42.
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have coordination or harmony with inner feelings and outer form. Lavanya is this very
quality.47 The presence of lavanya can be felt in Janam Sakhis. An art cannot be
successful unless it has this element. For success, it is necessary that art should be able
to attract people and be accepted by them. The success of Janam Sakhi proved this
point.
Sadrishya: Its real meaning is the imitation of the reality. Here, copying the reality
does not mean making a duplicate or making a thing exactly as the original looks or as
it appears to be. In literature of Indian art, from Indian point of view, the elements can
be classified into two parts, i.e., drishtan or visible (seen) and adrishtan or invisible
(unseen). The first means real and second means imaginary. These objects exist in
nature or alternatively in imagination. Sadrishya here means something seen through
the involvement of mind which is different from both reality and imagination.
Traditional Indian art has been about pure creativity not imitation. The creativity which
is an impression produced by an object which (object) may be real or imaginary, these
concepts of realism and idealism are known not in Indian art but in western art. In India,
realism is used not in absolute terms but in a comparative way because the Indian mind
has always tried to discover realism behind the nature.48
The Indian artists did not copy any model for their art work. If they ever had a
model it was the vision or mental image with which they gave shape to their art work.
In this respect, the Indian art was supremely creative. This was a result of their deep
thinking, meditation and intention. As a matter of fact, according to the Indian way of
thinking, spiritual evolution is essential for life whose chief goal is the realization of the
self. These ideas have been evolving since the very ancient times. As a necessary
corollary, all art forms – poetry, drama, dance, painting, sculpture and music – all were
sacred and had been the chosen pathways for spiritual awakening. The pursuit of art did
47
Veereshwar,Prakash, Sharma,Nupur., (2001), Aesthetics-Philosophy of Art, Krishna Prakashan Media
(P) Ltd., Meerut, P.49.
48
Anand,Mulk Raj.,(1987), The Hindu View of Art, Gulab Vazirani for Arnold-Heinemann Publishers (i)
Pvt. Ltd., New Delhi, P.110.
129
not mean changing the course of life nor did it mean complete involvement in worldly
affairs. In fact, it was a means of elevation of soul to the higher levels.49
Imagination may have been used for depicting a person or religious deity but it
should show all the characteristics of particular image. So that the beholder can easily
recognize it or accept it. It was the dexterity of Janam Sakhi artists that they presented
Guru Nanak in such a manner that people in the whole world easily accepted his image
or form and it became conspicuous figure. Even though nobody knew about the
attributes of original picture of Guru Nanak and none had been painted before. All
credit goes to the Janam Sakhi artists that, mentally, they used sadrishya and gave to
the world an image of Guru Nanak and spread the faith of Sikh religion.
Varnika Bhanga: This element of art is known for the artistic use and correct
implementation of colours and other materials used in art work. In Vishnudhramottram
Puran and Natya Shastra, great stress has been laid on the subtle knowledge of pigments
used by artists.50 Rupa, bhava and pramanam, etc., all can be learnt through mind but
use of pigments cannot be learnt without practice.51 Only a complete knowledge of
pigments can make a painting beautiful. Even a minor mistake can change the meaning
of a painting. For example, in Janam Sakhi paintings, presentation of all components
such as various figures, landscape, different trees, fruits, flowers, birds, animals,
buildings, clothes, skyscape, etc., is perfect as far as their form is concerned but the
chief contribution as far as their appropriate depiction is concerned, is that of colours.
49
Iyer, K. Bharatha., (1982), Indian Art A short Introduction, Taraporevala, 210 Dr. Dadabhai. Naoraji
Road, 400001, Bombay,P.2,3.
50
Anand,Mulk Raj.,(1987), The Hindu View of Art, Gulab Vazirani for Arnold-Heinemann Publishers (i)
Pvt. Ltd., New Delhi, P.110,111.
51
Chaman,Saroj., (2009), Soundriya Shastra, Publication Bureau, Punjabi University,Patiala, P.86.
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