Ṣaḍaṅga Theory in Rāgamālā Paintings

The article explores Rāgamāla paintings, a unique Indian art form blending poetry, painting, and music, through the lens of the Ṣaḍaṅga theory. Originating in the 16th century, these paintings visualize musical *rāgas* and *rāginīs* as anthropomorphized figures, often depicted as divine or human forms (*nāyaka* and *nāyikā*). The study focuses on six aesthetic principles of Ṣaḍaṅga—*rūpa-bheda* (form differentiation), *pramāṇa* (proportions), *bhāva* (emotions), *lāvaṇya-yojana* (grace), *sādṛśyam* (resemblance), and *varṇika bhaṅga* (color usage)—to analyze their composition. Rāgamāla paintings, flourishing in regions like Gujarat, Rajasthan, and the Deccan, required artists to master Indian classical music, dance, and poetry. Painters employed Ṣaḍaṅga to translate the emotional and atmospheric essence of *rāgas* into visual narratives. For instance, *rūpa-bheda* enabled distinct form differentiation, while *pramāṇa* ensured balanced proportions, as seen in depictions of *rāginī Asavari* (16th century). The theory also highlights the integration of *rasā* (sentiment) and *bhāva* (emotion), with artists meditating on deities linked to specific *rāgas* to evoke corresponding moods. The article underscores the decline of Rāgamāla art by the 19th century and its artistic significance in reflecting India’s synesthetic cultural ethos, where music, poetry, and painting converged to express transcendent emotions.

AI-assisted summary, not yet checked. Consult the original PDF before citing.