Parallel Values and Ideals of the Indian Art
By K. M. Verma
Summary
The article argues that Indian art possesses its own philosophical ideals, distinct from external religious or social considerations. The author examines the aesthetic values and ideals recorded in two specific texts, the *Visnudharmottara Purana* (V.Dh. P.) and the *Natya-Sastra* (N.S.), to demonstrate how these works outline fundamental artistic principles. The central evidence consists of parallel verses from both texts that categorize the elements of painting and music, as well as the types of people who appreciate them. The author analyzes specific technical terms and their translations, such as *Rekba*, *Vartana*, *Bbisana*, and *Varnadbyata* in the context of painting, and *Padaccheda*, *Madbura*, and *Vikrsta* in the context of music. The text meticulously compares the readings and translations of these terms, often correcting the interpretations of Dr. Stella Kramrisch and referencing various editions and commentaries, including those by M. R. Kavi and Abhinavagupta. The author concludes that while different individuals—such as masters, connoisseurs, women, and the general public—naturally value different artistic elements like the abstract line, volume, decoration, and richness of color, these preferences represent a developmental unfolding of human intelligence rather than a rigid hierarchy. Ultimately, the article posits that this parallel valuation of diverse aesthetic elements reflects a profound humanist ideal. This ideal, the author suggests, aims to immerse all levels of society in the enjoyment of bliss through art, ensuring that no individual is ignored. The author attributes the conceptualization of this universal and inclusive artistic vision to humanists like the Buddhists.
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Conclusion
This article establishes that Indian art, particularly painting, possesses its own independent philosophy and values, drawing inspiration from diverse sources like religion and dance without losing its unique identity. By analyzing the Visnudharmottara Purana and the Natyashastra, the study reveals a profound parallel in how different aesthetic elements—such as abstract line, volume, decoration, and color—are valued by distinct groups of viewers based on their intellectual development. The key finding is that Indian aesthetic theory does not exclude any demographic; rather, it categorizes appreciation according to natural and cultivated sensitivities. Consequently, the article argues that the ultimate human ideal of Indian art is universal inclusivity. It mandates that an artist incorporate all these varied elements to enchant every segment of society, reflecting a profound, non-elitist, and universal vision of artistic bliss.