Shilpa Shastras Explained

Shilpa Shastra

Shilpa Shastras (Sanskrit: शिल्प शास्त्र ) 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]

Sixty-four techniques for such arts or crafts, sometimes called "external or practical arts", are traditionally enumerated, including carpentry, architecture, jewellery, farriery, acting, dancing, music, medicine, poetry etc., besides sixty-four or "secret arts", which include mostly "erotic arts" such as kissing, embracing, etc.[4]

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.[5] [6] 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)[7] and Shilpini (शिल्पिनी, female artist)[8] for artists and crafts person, while Shilpani refers to works of arts of man.[1]

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] [9] 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)[10] and thirty-two (विद्या, fields of knowledge).[1] [11] 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.[12] 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).[13]

Other ancient Shilpa Shastra on painting include Vishnudharmottara Purana and Chitralakshana, the former is available in Sanskrit while the only surviving copies of the latter are in Tibetan (both were originally written on birch bark, and have been translated into English and German).[14] These Sanskrit treatises discuss the following aspects of a painting: measurement, proportions, perspective of the viewer, mudra, emotions, and rasa (meaning). Such an approach to Indian paintings, states Isabella Nardi, make Shilpa Shastra not only canonical textual sources but also a means to transmit knowledge and spiritual themes.[15]

In carpentry

The first chapter of Shilpa Shastra Manasara discusses the measurement principles for carpentry.[16] The 9th-century version of Mayamata text of Tamil Nadu and 16th-century version of Shilparatna of Odisha describe and as wood Shilpins; takshaka possesses the knowledge of wood types and practices the art of cutting wood, while possesses the knowledge of wood forms and practices the art of carpentry.[17] One of the earliest mentions of carpentry arts is in Book 9, Chapter 112 of Rig Veda.[18] Carpentry was also an essential Shilpa Shastra during the construction of a Hindu temple.[19]

In metallurgy

The Vedas, particularly 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,[20] mentions equipment used in casting, such as dhamatri (cupola), (crucible) and (blower). These discussions are in the context of making idols, and describe rules to achieve the best (proportions), (stance) and (expression).[20] [15]

Sanskrit texts such as Shilparatna[21] and Manasara[22] 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).[20] Madhuchista Vidhana (cire perdue or lost wax) casting process is the most discussed process in these ancient shilpa shastras with metals.[20] [23] Kirk suggests that these Shastras diffused from India to other ancient cultures in Asia.[24]

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.[20] [25]

Shilpa Shastra education in ancient India

No barriersArts were the domain of all classes and genders in ancient India.[26] The ancient texts of Parashara state that all crafts were practised by anyone irrespective of their family's occupation.[1] The Buddhist Jatakas mention Brahmana carpenters, the 4th-century text Baudhayana describes[27] chariot builders, carpenters, brick-workers, potters and metal workers from people classified as Kshatriya, Vaishya and Shudra. Suttavibhanga describes builders and wheelwrights born to Shudra fathers and Brahmana mothers.[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.[28]
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]
GuildsShilpins 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;[29] in some cases, the king's treasurer had the final word and served as judge of various guilds in a kingdom.[30] These guilds, in the 1st millennium BC, included all those who practised the art irrespective of the artist's caste or creed.[31] 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.[31] 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.[32] 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 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.[33] [34]

Treatises on Shilpa Shastras

Some known Shilpa Shastras-related manuscripts include:[35] [36]

Further reading

External links

Notes and References

  1. 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 a basis for iconographic standards, see: Hopkins, Thomas J. (1971). The Hindu Religious Tradition. Belmont, California: Dickenson Publishing Company, p. 113.
  4. Monier-Williams, Monier, with Ernst Leumann, Carl Capeller, and other scholars (1986). A Sanskrit-English Dictionary: Etymologically and Philologically Arranged with Special Reference to Cognate Indo-European Languages (rev. ed.). Delhi: Motilal Banarsidass. p. 1073.
  5. 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
  6. M. Chandra (1973), Costumes, Textiles, Cosmetics and Coiffures in Ancient and Medieval India, Delhi,
  7. http://spokensanskrit.de/index.php?script=HK&beginning=0+&tinput=silpin+&trans=Translate&direction=AU Śilpin
  8. http://spokensanskrit.de/index.php?tinput=zilpinI&script=&direction=SE&link=yes Śilpini
  9. Stella Kramrisch (1958), Traditions of the Indian Craftsman, The Journal of American Folklore, Vol. 71, No. 281, (Jul. - Sep., 1958), pp. 224-230
  10. Vatsyayana, Kamasutra I.3, Jayamangala
  11. Vatsyayana, Kamasutra, Book I, Chapter 3
  12. Isabella Nardi (2006), The Theory of Citrasutras in Indian Painting, Routledge,, pages 180-187
  13. S. Dabhade,, pages 7-12
  14. Isabella Nardi (2006), The Theory of Citrasutras in Indian Painting, Routledge,
  15. 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
  16. [Ram Raz]
  17. Naoki Ideno (2007), The Artisans' Duty and Ability in Shilpa-Shastras, Journal of Indian and Buddhist Studies, 55(2), pages 788-784
  18. R Vyas (1992), Nature of Indian Culture, South Asia Books,, pages 20-21
  19. 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
  20. B. Ravi (2003), Investment casting development - Ancient and Modern Approaches, National Conference on Investment Casting Central Mechanical Engineering Research Institute, Durgapur, IIT Bombay
  21. Hans Losch, Sources of Sri Kumara's Shilparatna, Anal. Bhandarkar Orient. Res., Vol. 31, pages 152-164
  22. 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
  23. Pupul Jayakar(1984), Metal Casting from Kerala, India International Centre Quarterly, Vol. 11, No. 4, DESIGN: TRADITION AND CHANGE (December 1984), pp. 63-68
  24. Kirk, W. (1975), The role of India in the diffusion of early cultures, Geographical Journal, Vol. 141, No. 1, 19-34
  25. R Balasubramaniam (1998), The decorative bell capital of the Delhi iron pillar, JOM, 50(3): 40-47,
  26. Stella Kramrisch, The Hindu Temple, Vol 1,
  27. Baudhayana, XXV.13.22
  28. Web site: Bamboo and Cane Culture of Assam | IGNCA. https://web.archive.org/web/20210829061649/http://ignca.gov.in/divisionss/janapada-sampada/northeastern-regional-centre/bamboo-and-cane-culture-of-assam/. 2021-08-29.
  29. Manusmriti VIII.41
  30. Nigrodha Jataka VI.427
  31. 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
  32. Stella Kramrisch, The Hindu Temple, Vol 1, Motilal Banarsidass,
  33. Stella Kramrisch, The Hindu Temple, Vol 1 & 2, Motilal Banarsidass,
  34. Heather Elgood (2000), Hinduism and the religious arts,, Bloomsbury Academic, pp 121-125
  35. Acharya P.K. (1946), An Encyclopedia of Hindu Architecture, Oxford University Press
  36. http://www.cca.qc.ca/system/items/3991/original/Coll_Vastu_Shastra-biblio.pdf?1268241215 Bibliography of Vastu Shastra Literature, 1834-2009

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