fbpx
Wikipedia

Shilpa Shastras

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 describe 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, composition, principles, meaning, as well as rules of architecture.[3]

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

Sixty-four techniques for such arts or crafts, sometimes called bāhya-kalā "external or practical arts", are traditionally enumerated, including carpentry, architecture, jewellery, farriery, acting, dancing, music, medicine, poetry etc., besides sixty-four abhyantara-kalā or "secret arts", which include mostly "erotic arts" such as kissing, embracing, etc. (Monier-Williams s.v. śilpa).

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

Description

Shilpa (शिल्प) refers to any art or craft in ancient Indian texts, while Shastra means science. Together, Shilpa Shastra means the science of art and crafts. The ancient Sanskrit texts use the term Shilpin (शिल्पिन्, male artist)[6] and Shilpini (शिल्पिनी, female artist)[7] for artists and crafts person, while Shilpani refers to works of arts of man.[1]

Shilpani, works of art of man,
imitate the divine forms,
by employing their rhythms,
they metrically reconstitute,
and interpret the limitless knowledge,
of the sacred hymns,
from the limits of being human.

— Aitareya Brahmana, Rig Veda, 6.5.27[8][9]

The meaning 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][10] The range of crafts encompassed by 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 two vidyas (विद्या, fields of knowledge).[1][12] Shilpa is discussed in Agamas, Puranas and Vastu Shastra where it is linked to the mythology of Vishvakarma.

In painting

Shilpa Shastras include chapters on paintings, both miniature and large.[13] For example, Narada Shilpa Shastra dedicates chapters 66 and 71 to painting, while Saraswati Shilpa Shastra describes various types of chitra (full painting), ardhachitra (sketch work), chitrabhasa (communication through painting), varna samskara (preparation of colors).[14]

Other ancient Shilpa Shastra on painting include Vishnudharmottara Purana and Chitralakshana, former is available in Sanskrit while the only 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 following aspects of a painting: measurement, proportions, perspective of the viewer, mudra, emotions, and rasa (meaning). Such an approach of Indian paintings, states Isabella Nardi, make Shilpa Shastra not only canonical textual sources but also a means to transmit knowledge and spiritual themes.[16][17]

In carpentry

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 describe takshaka and vardhaki as wood Shilpins; takshaka possesses the knowledge of wood types and practices the art of cutting wood, while vardhaki possesses the knowledge of wood forms and practices the art of carpentry.[19] One of the earliest mentions of carpentry arts is in Book 9, Chapter 112 of Rig Veda.[20] Carpentry was also an essential Shilpa Shastra during the construction of a Hindu temple.[21]

In metallurgy

 
The 4th-century CE 99.7% pure Iron pillar in Delhi reflecting the metal-related shilpa in ancient India.[22] The pillar was moved and reinstalled near Qutb complex about 1000 years later. The upper part of the pillar remains without any rust damage; the lower, reinstalled in-ground part shows signs of rust.

The Vedas, in particular Atharva veda and Sthapatya veda, describe many kinds of arts and crafts in their discussion of Shilpa Shastra and Yantra Sarvasva. The Rig veda, states Ravi,[16] mentions equipment used in casting, such as 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).[16][17]

Sanskrit texts such as Shilparatna[23] and Manasara[24] describe in detail the process and principles for art work with metals, particularly for alloys such as panchadhatu (five metals – zinc, tin, copper, silver and gold) and ashtadhatu (eight metal alloys – which adds iron, 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.[16][25] Kirk suggests that these Shastras diffused from India to other ancient cultures in Asia.[26]

While there is empirical evidence of high purity metallurgy and art works with other metals, some ancient Shilpa Shastras have been lost. For example, the 5th century Iron Pillar of Delhi, which stands 23 feet, weighs 6 tonnes and contains 99.72% iron without showing any signs of rust, is empirical evidence of the state of metallurgical arts in 5th century India.[16][22]

Shilpa Shastra education in ancient India

No barriers

All arts were the domain of all classes, both genders in ancient India.[27] The ancient texts of Parashara states that all crafts were practised by anyone irrespective of family's occupation.[1] The Buddhist Jatakas mention Brahmana carpenters, the 4th 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 born to Shudra father and Brahmana mother.[1] The goldsmiths of Maharashtra included children born in cattle herding families. There is no particular community in Assam Valley that is exclusive to traditional crafts such as bamboo and cane. Present day, it is done by particularly the peasants irrespective of caste, community 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 childhood, and included studies about dharma, culture, reading, writing, mathematics, geometry, colors, tools, as well as trade secrets – these were called Tradition.[1][30]

Guilds

Shilpins had formed śreṇi (guilds) in ancient India. 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 final word and served as judge of various guilds in a kingdom.[32] These guilds, in the 1st millennium BC, included all those who practised the art irrespective of the artist's caste or creed.[33] The income of each guild came from fees paid by new members joining the guild, from fines on those violating the code of conduct established by the guild, and levies on tools used for that art. The guilds also performed charity 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 performance and pavilions with flags and emblems.

Art is spiritual

Creative work and artists were granted the sanctions of a sacrament in ancient Indian culture, states Stella Kramrisch.[30] An artist expresses the spiritual and holiness in his or her art. This belief continues to manifest itself in modern 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 it for wood. The axe used to cut the tree would be rubbed with honey and butter to minimise the hurt to the tree which was considered to be a living being. Craft 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

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

  • Mayashastra (image printing, wall decoration)
  • Bimbamana (painting)
  • Shukra-Niti (pratima – murti or vigraha making, icon design)
  • Suprabhedagama
  • Vishnu dharmottara purana (literature, music, theatre, dance, painting, sculpture, iconography, architecture)
  • Agamas (have chapters on other shilpa shastras)
  • Agni purana (iconography)
  • Brahmanda purana (mostly architecture, some sections on arts)
  • Vastu vidya
  • Pratima lakshana vidhanam
  • Gargeyam
  • Manasara (many chapters on casting, moulding carving, polishing and making of arts and crafts)
  • Atriyam
  • Pratima mana lakshanam (includes chapters on repair of broken idols and art works)
  • Dasa tala nyagrodha pari mandala
  • Sambudhabhasita pratima lakshana vivarana nama
  • Mayamatam (construction – architecture, vehicles, etc.)
  • Brhat Samhita
  • Shilpa ratnam (Purvabhaga book has 46 chapters on arts and construction of house/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 (general crafts such as windows and doors, as well as public utilities)
  • Chitra kalpa (ornaments)
  • Chitra karmashastra
  • Maya shilpashastra (in Tamil)
  • Vishvakarma shilpa (arts on columns, wood working)
  • Agastya (wood based arts and crafts)
  • 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, dance, music, fragments on painting and sculpture)
  • Nrttaratnavali (crafts for fashion and public performance)
  • Sangita ratna kara (crafts for fashion, dance and public performance)
  • Nalapaka (food, 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 Language)
  • Sangita ratna kara (music crafts)
  • Śilpa-ratna-kośa (architecture, sculpture)
  • Cilappatikaaram (a 2nd-century Tamil classic on music and dance, sections on musical instruments)
  • Manasollasa (arts and crafts relating to musical instruments, cooking, textiles, decoration)
  • Vastuvidya (sculpture, icons, painting, and minor arts and crafts)
  • Upavana vinoda (Sanskrit treatise on arbori-horticulture arts, garden house design, aspects of house plants related crafts)
  • Vastusutra Upanishad (oldest known Sanskrit Shilpa Shastra text, 6 chapters, deals with image making, describes how image arts are means of communicating emotions and spiritual freedom).

See also

References

  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), Design of Settlements in the Vaastu Shastras, Journal of Cultural Geography, 17(2), 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. N. (2011), Silpis in Ancient India: Beyond 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 Ancient and Medieval India, Delhi, OCLC 251930242
  6. ^ Śilpin Sanskrit English Dictionary, University of Koeln, Germany
  7. ^ Śilpini Sanskrit English Dictionary, University of Koeln, Germany
  8. ^ Mary-Ann Milford-Lutzker, Intersections: Urban and Village Art in India, Art Journal, 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, Sixth Book, 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.3, Jayamangala
  12. ^ Vatsyayana, Kamasutra, Book 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 e f B. Ravi (2003), Investment casting development - Ancient and Modern Approaches, National Conference on Investment Casting Central Mechanical Engineering Research Institute, Durgapur, IIT Bombay
  17. ^ a b Isabella Nardi (2009), Re-evaluating the Role of Text in Indian Art - Towards a Shastric Analysis of the Image of Shri Nathji in Nathdvara Miniature Painting, South Asia Research, July, vol. 29, no. 2, pages 99-126
  18. ^ Ram Raz, Henry Harkness (1834), Essay on the Architecture 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, Journal of Indian and Buddhist Studies, 55(2), pages 788-784
  20. ^ R Vyas (1992), Nature of Indian Culture, South Asia Books, ISBN 978-8170223887, pages 20-21
  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(3): 40-47, doi:10.1007/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 metal art works as well; 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 Press - 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, DESIGN: TRADITION AND CHANGE (December 1984), pp. 63-68
  26. ^ Kirk, W. (1975), The role of India in the diffusion of early cultures, Geographical Journal, Vol. 141, No. 1, 19-34
  27. ^ Stella Kramrisch, The Hindu Temple, Vol 1, ISBN 978-81-208-0222-3
  28. ^ Baudhayana, XXV.13.22
  29. ^ . 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 VI.427
  33. ^ a b 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. 228
  34. ^ Stella Kramrisch, The Hindu Temple, Vol 1 & 2, Motilal Banarsidass, ISBN 978-81-208-0222-3
  35. ^ Heather Elgood (2000), Hinduism and the religious arts, ISBN 978-0304707393, Bloomsbury Academic, pp 121-125
  36. ^ Acharya P.K. (1946), An Encyclopedia of Hindu Architecture, Oxford University Press
  37. ^ Bibliography of Vastu Shastra Literature, 1834-2009 CCA

Further reading

  • Isabella Nardi (2006), The Theory of Citrasutras in Indian Painting, Routledge, ISBN 978-0415391955
  • Alain Daniélou, Virtue, Success, Pleasure, and Liberation: The Four Aims of Life, ISBN 0-89281-218-4 - Chapter "The Thirty-two sciences" on Shilpa Shastra
  • S. Dabhade, The Technique of Wall Painting in Ancient India at Google Books
  • P. K. Acharya, Indian Architecture 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 - 1, 2004 , Volume -2, 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 way of the silpis: Or, Hindu approach to art and science. Allahabad: Indian Press, OCLC 4483067
  • V.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 5 volumes, source of information on Vaishnava Shilpa Shastra. # 1300 Pages.
  • T. Finot (1896), Les lapidaires indiens, (in French)
  • Dr G Gnanananda, "Paramparika Shilpa: Nenne-Naale (2011-3rd publication)", Sanskriti Sahithya Pratisthana, Publications, Bangalore - This book is a study 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 Academy Publication.
  • Vastu-Shilpa Kosha, Encyclopedia of Hindu Temple architecture and Vastu/S.K.Ramachandara Rao, Delhi, Devine Books, (Lala Murari Lal Chharia Oriental series) ISBN 978-93-81218-51-8 (Set)
  • Hopkins, Thomas J. (1971). The Hindu Religious Tradition. Belmont, California: Dickenson Publishing Company.
  • Amita Sinha, Design of Settlements in the Vaastu Shastras, Journal of Cultural Geography, Vol. 17, 1998.
  • Dr G Gnanananda, "Shilpaadarsh Volume-1 (1999)", "Shilpaadarsh Volume-2 (2002)", Published by Hampi University.

External links

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

shilpa, shastras, sanskrit, śilpa, śāstra, literally, means, science, shilpa, arts, crafts, ancient, umbrella, term, numerous, hindu, texts, that, describe, arts, crafts, their, design, rules, principles, standards, context, hindu, temple, architecture, sculpt. Shilpa Shastras Sanskrit श ल प श स त र silpa sastra literally means the Science of Shilpa arts and crafts 1 2 It is an ancient umbrella term for numerous Hindu texts that describe 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 composition principles meaning as well as rules of architecture 3 Shilpa ShastraTemplesCarpentrySculpture1st century BC jewelryShilpa Shastras are ancient texts that describe design and principles for a wide range of arts and crafts 1 Sixty four techniques for such arts or crafts sometimes called bahya kala external or practical arts are traditionally enumerated including carpentry architecture jewellery farriery acting dancing music medicine poetry etc besides sixty four abhyantara kala or secret arts which include mostly erotic arts such as kissing embracing etc Monier Williams s v silpa While Shilpa and Vastu Shastras are related Shilpa Shastras deal with arts and crafts such as forming statues icons stone murals painting carpentry pottery jewellery dying textiles and others 4 5 Vastu Shastras deal with building architecture building houses forts temples apartments village and town layout etc Contents 1 Description 2 In painting 3 In carpentry 4 In metallurgy 5 Shilpa Shastra education in ancient India 6 Treatises on Shilpa Shastras 7 See also 8 References 9 Further reading 10 External linksDescription EditShilpa श ल प refers to any art or craft in ancient Indian texts while Shastra means science Together Shilpa Shastra means the science of art and crafts The ancient Sanskrit texts use the term Shilpin श ल प न male artist 6 and Shilpini श ल प न female artist 7 for artists and crafts person while Shilpani refers to works of arts of man 1 Shilpani works of art of man imitate the divine forms by employing their rhythms they metrically reconstitute and interpret the limitless knowledge of the sacred hymns from the limits of being human Aitareya Brahmana Rig Veda 6 5 27 8 9 The meaning 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 10 The range of crafts encompassed by 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 कल techniques 11 and thirty two vidyas व द य fields of knowledge 1 12 Shilpa is discussed in Agamas Puranas and Vastu Shastra where it is linked to the mythology of Vishvakarma In painting EditShilpa Shastras include chapters on paintings both miniature and large 13 For example Narada Shilpa Shastra dedicates chapters 66 and 71 to painting while Saraswati Shilpa Shastra describes various types of chitra full painting ardhachitra sketch work chitrabhasa communication through painting varna samskara preparation of colors 14 Other ancient Shilpa Shastra on painting include Vishnudharmottara Purana and Chitralakshana former is available in Sanskrit while the only 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 following aspects of a painting measurement proportions perspective of the viewer mudra emotions and rasa meaning Such an approach of Indian paintings states Isabella Nardi make Shilpa Shastra not only canonical textual sources but also a means to transmit knowledge and spiritual themes 16 17 In carpentry EditThe 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 describe takshaka and vardhaki as wood Shilpins takshaka possesses the knowledge of wood types and practices the art of cutting wood while vardhaki possesses the knowledge of wood forms and practices the art of carpentry 19 One of the earliest mentions of carpentry arts is in Book 9 Chapter 112 of Rig Veda 20 Carpentry was also an essential Shilpa Shastra during the construction of a Hindu temple 21 In metallurgy Edit The 4th century CE 99 7 pure Iron pillar in Delhi reflecting the metal related shilpa in ancient India 22 The pillar was moved and reinstalled near Qutb complex about 1000 years later The upper part of the pillar remains without any rust damage the lower reinstalled in ground part shows signs of rust The Vedas in particular Atharva veda and Sthapatya veda describe many kinds of arts and crafts in their discussion of Shilpa Shastra and Yantra Sarvasva The Rig veda states Ravi 16 mentions equipment used in casting such as 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 16 17 Sanskrit texts such as Shilparatna 23 and Manasara 24 describe in detail the process and principles for art work with metals particularly for alloys such as panchadhatu five metals zinc tin copper silver and gold and ashtadhatu eight metal alloys which adds iron 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 16 25 Kirk suggests that these Shastras diffused from India to other ancient cultures in Asia 26 While there is empirical evidence of high purity metallurgy and art works with other metals some ancient Shilpa Shastras have been lost For example the 5th century Iron Pillar of Delhi which stands 23 feet weighs 6 tonnes and contains 99 72 iron without showing any signs of rust is empirical evidence of the state of metallurgical arts in 5th century India 16 22 Shilpa Shastra education in ancient India EditNo barriersAll arts were the domain of all classes both genders in ancient India 27 The ancient texts of Parashara states that all crafts were practised by anyone irrespective of family s occupation 1 The Buddhist Jatakas mention Brahmana carpenters the 4th 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 born to Shudra father and Brahmana mother 1 The goldsmiths of Maharashtra included children born in cattle herding families There is no particular community in Assam Valley that is exclusive to traditional crafts such as bamboo and cane Present day it is done by particularly the peasants irrespective of caste community or creed 29 ApprenticeshipApprentices joined and trained under masters The best were adopted and recognised as members of various art guilds 1 The training began from childhood and included studies about dharma culture reading writing mathematics geometry colors tools as well as trade secrets these were called Tradition 1 30 GuildsShilpins had formed sreṇi guilds in ancient India 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 final word and served as judge of various guilds in a kingdom 32 These guilds in the 1st millennium BC included all those who practised the art irrespective of the artist s caste or creed 33 The income of each guild came from fees paid by new members joining the guild from fines on those violating the code of conduct established by the guild and levies on tools used for that art The guilds also performed charity 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 performance and pavilions with flags and emblems Art is spiritualCreative work and artists were granted the sanctions of a sacrament in ancient Indian culture states Stella Kramrisch 30 An artist expresses the spiritual and holiness in his or her art This belief continues to manifest itself in modern 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 it for wood The axe used to cut the tree would be rubbed with honey and butter to minimise the hurt to the tree which was considered to be a living being Craft 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 EditSome known Shilpa Shastras related manuscripts include 36 37 Mayashastra image printing wall decoration Bimbamana painting Shukra Niti pratima murti or vigraha making icon design Suprabhedagama Vishnu dharmottara purana literature music theatre dance painting sculpture iconography architecture Agamas have chapters on other shilpa shastras Agni purana iconography Brahmanda purana mostly architecture some sections on arts Vastu vidya Pratima lakshana vidhanam Gargeyam Manasara many chapters on casting moulding carving polishing and making of arts and crafts Atriyam Pratima mana lakshanam includes chapters on repair of broken idols and art works Dasa tala nyagrodha pari mandala Sambudhabhasita pratima lakshana vivarana nama Mayamatam construction architecture vehicles etc Brhat Samhita Shilpa ratnam Purvabhaga book has 46 chapters on arts and construction of house 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 general crafts such as windows and doors as well as public utilities Chitra kalpa ornaments Chitra karmashastra Maya shilpashastra in Tamil Vishvakarma shilpa arts on columns wood working Agastya wood based arts and crafts 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 dance music fragments on painting and sculpture Nrttaratnavali crafts for fashion and public performance Sangita ratna kara crafts for fashion dance and public performance Nalapaka food 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 Language Sangita ratna kara music crafts Silpa ratna kosa architecture sculpture Cilappatikaaram a 2nd century Tamil classic on music and dance sections on musical instruments Manasollasa arts and crafts relating to musical instruments cooking textiles decoration Vastuvidya sculpture icons painting and minor arts and crafts Upavana vinoda Sanskrit treatise on arbori horticulture arts garden house design aspects of house plants related crafts Vastusutra Upanishad oldest known Sanskrit Shilpa Shastra text 6 chapters deals with image making describes how image arts are means of communicating emotions and spiritual freedom See also EditVishvakarma Hindu iconography Hindu temple Murti Talamana Vastu shastraReferences Edit 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 Sinha A 1998 Design of Settlements in the Vaastu Shastras Journal of Cultural Geography 17 2 pp 27 41 For Silpa Sastras as basis for iconographic standards see Hopkins Thomas J 1971 The Hindu Religious Tradition Belmont California Dickenson Publishing Company p 113 Misra R N 2011 Silpis in Ancient India Beyond their Ascribed Locus in Ancient Society Social Scientist Vol 39 No 7 8 pages 43 54 M Chandra 1973 Costumes Textiles Cosmetics and Coiffures in Ancient and Medieval India Delhi OCLC 251930242 Silpin Sanskrit English Dictionary University of Koeln Germany Silpini Sanskrit English Dictionary University of Koeln Germany Mary Ann Milford Lutzker Intersections Urban and Village Art in India Art Journal Vol 58 No 3 Autumn 1999 pp 22 30 Martin Haug 1922 Aitareya Brahmanam of the Rigveda The Sacred Books of the Hindus Allahabad University of Toronto Archives Sixth Book Chapter 5 pages 288 300 Stella Kramrisch 1958 Traditions of the Indian Craftsman The Journal of American Folklore Vol 71 No 281 Jul Sep 1958 pp 224 230 Vatsyayana Kamasutra I 3 Jayamangala Vatsyayana Kamasutra Book I Chapter 3 Isabella Nardi 2006 The Theory of Citrasutras in Indian Painting Routledge ISBN 978 0415391955 pages 180 187 S Dabhade The Technique of Wall Painting in Ancient India at Google Books pages 7 12 Isabella Nardi 2006 The Theory of Citrasutras in Indian Painting Routledge ISBN 978 0415391955 a b c d e f B Ravi 2003 Investment casting development Ancient and Modern Approaches National Conference on Investment Casting Central Mechanical Engineering Research Institute Durgapur IIT Bombay a b Isabella Nardi 2009 Re evaluating the Role of Text in Indian Art Towards a Shastric Analysis of the Image of Shri Nathji in Nathdvara Miniature Painting South Asia Research July vol 29 no 2 pages 99 126 Ram Raz Henry Harkness 1834 Essay on the Architecture of the Hindus at Google Books pages 3 6 footnote on page 4 Naoki Ideno 2007 The Artisans Duty and Ability in Shilpa Shastras Journal of Indian and Buddhist Studies 55 2 pages 788 784 R Vyas 1992 Nature of Indian Culture South Asia Books ISBN 978 8170223887 pages 20 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 a b R Balasubramaniam 1998 The decorative bell capital of the Delhi iron pillar JOM 50 3 40 47 doi 10 1007 s11837 998 0378 3 Hans Losch Sources of Sri Kumara s Shilparatna Anal Bhandarkar Orient Res Vol 31 pages 152 164 While Manasara sometimes spelled Manava sara has extensive discussions on architecture guidelines for ancient village and town planning it has section on metal art works as well 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 Press A version was reprinted in 1995 as ISBN 978 8186142721 Pupul Jayakar 1984 Metal Casting from Kerala India International Centre Quarterly Vol 11 No 4 DESIGN TRADITION AND CHANGE December 1984 pp 63 68 Kirk W 1975 The role of India in the diffusion of early cultures Geographical Journal Vol 141 No 1 19 34 Stella Kramrisch The Hindu Temple Vol 1 ISBN 978 81 208 0222 3 Baudhayana XXV 13 22 Bamboo and Cane Culture of Assam IGNCA Archived from the original on 2021 08 29 a b Stella Kramrisch The Hindu Temple Vol 1 Motilal Banarsidass ISBN 978 81 208 0222 3 Manusmriti VIII 41 Nigrodha Jataka VI 427 a b 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 228 Stella Kramrisch The Hindu Temple Vol 1 amp 2 Motilal Banarsidass ISBN 978 81 208 0222 3 Heather Elgood 2000 Hinduism and the religious arts ISBN 978 0304707393 Bloomsbury Academic pp 121 125 Acharya P K 1946 An Encyclopedia of Hindu Architecture Oxford University Press Bibliography of Vastu Shastra Literature 1834 2009 CCAFurther reading EditIsabella Nardi 2006 The Theory of Citrasutras in Indian Painting Routledge ISBN 978 0415391955 Alain Danielou Virtue Success Pleasure and Liberation The Four Aims of Life ISBN 0 89281 218 4 Chapter The Thirty two sciences on Shilpa Shastra S Dabhade The Technique of Wall Painting in Ancient India at Google Books P K Acharya Indian Architecture 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 1 2004 Volume 2 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 way of the silpis Or Hindu approach to art and science Allahabad Indian Press OCLC 4483067 V 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 5 volumes source of information on Vaishnava Shilpa Shastra 1300 Pages T Finot 1896 Les lapidaires indiens in French Dr G Gnanananda Paramparika Shilpa Nenne Naale 2011 3rd publication Sanskriti Sahithya Pratisthana Publications Bangalore This book is a study 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 Academy Publication Vastu Shilpa Kosha Encyclopedia of Hindu Temple architecture and Vastu S K Ramachandara Rao Delhi Devine Books Lala Murari Lal Chharia Oriental series ISBN 978 93 81218 51 8 Set Hopkins Thomas J 1971 The Hindu Religious Tradition Belmont California Dickenson Publishing Company Amita Sinha Design of Settlements in the Vaastu Shastras Journal of Cultural Geography Vol 17 1998 Dr G Gnanananda Shilpaadarsh Volume 1 1999 Shilpaadarsh Volume 2 2002 Published by Hampi University External links EditManasara English translation by Prasanna Kumar Acharya 1933 includes glossary Media related to Shilpa Shastras at Wikimedia Commons Retrieved from https en wikipedia org w index php title Shilpa Shastras amp oldid 1137914675, wikipedia, wiki, book, books, library,

article

, read, download, free, free download, mp3, video, mp4, 3gp, jpg, jpeg, gif, png, picture, music, song, movie, book, game, games.