Bharatiya Shilpsamhita

Here's a comprehensive summary of the Jain text "Bharatiya Shilpsamhita" by Prabhashankar Oghadbhai Sompura, based on the provided pages:

Book Title: Bharatiya Shilpsamhita (Indian Art Compendium) Author: Padmashri Prabhashankar O. Sompura Publisher: Somaiya Publications Pvt. Ltd. Core Subject: This extensive work delves into the principles and practices of Indian art, particularly sculpture and architecture (shilpa-sthapatya), with a significant focus on religious iconography and temple construction. While the title suggests a comprehensive overview of Indian art, the content heavily emphasizes the creation of deities and their architectural settings.

Overall Theme and Philosophy: The book posits that the culture and civilization of a nation are reflected in its ancient art, literature, and architecture. Shilpa-sthapatya is considered a vital aspect of human life, captivating both the heart and the eye. Indian Shilpa-sthapatya is presented as a source of national pride and is intrinsically linked to religion and divine worship. The author emphasizes that ancient sages and artists created these magnificent structures and sculptures with deep wisdom, drawing inspiration from religious practices.

Key Concepts and Sections Covered:

1. The Divine Connection of Art:

   • Art and architecture are deeply intertwined with religion and the worship of deities.
   • Temples were built through religious fervor, which in turn stimulated the artisan community.
   • In ancient times, artisans were revered as "sons of Brahma."

2. The Nature of Knowledge and Art:

   • Quoting Shukracharya, the text distinguishes between 'Vidya' (knowledge expressed through speech) and 'Kala' (art, which can be expressed mutely). Shilpa (sculpture), dance, and painting are cited as examples of Kala.

3. Idol Worship (Pratima Puja) and Iconography:

   • Idol worship is central to various Indian religious traditions for achieving spiritual goals (Prabhuprapti or Moksha).
   • The evolution of iconography led to the establishment of precise rules (Pratima Vidhan) for the dimensions, proportions, postures, gestures (mudras), ornaments, weapons (ayudha), vehicles (vahan), and colors (varna) of deities.
   • Deviations from these established rules were considered "Veda-dosh" (a flaw) and believed to bring misfortune to the patron.
   • The text notes that while scholars may debate the earliest origins of idol worship, mentions are found even in the Vedas.

4. Vastu Shastra:

   • Vastu Shastra, considered an Upaveda of the Atharvaveda, contains significant insights into architecture.
   • Legislation on Vastu Vidya is found in Vedic texts, Brahmanas, Upanishads, Buddhist literature, and Jain Agamas, with extensive chapters in Puranas and Nitishastras.
   • Ancient Sanskrit literature on Vastu Shastra is largely from the medieval period, with earlier works presumed lost. Surviving texts primarily date from the 9th-10th centuries onwards.

5. Evolution of Sculptural Styles:

   • The book traces the development of sculpture from the Vedic period, noting the lack of surviving examples from that era.
   • It highlights the Gandhara style (influenced by Greek art, prevalent in the border regions of North Punjab) and the Mathura style (centered in Mathura, evolving from the Shunga period art).
   • The Gupta period is identified as the zenith of Indian artistic development, characterized by beauty, sweetness, and elegance.
   • Later periods like the Post-Gupta (Harshavardhana) and Medieval periods (900-1300 CE) saw further flourishing with contributions from regions like Odisha (Bhubaneswar, Konark), Khajuraho, Malwa, Gujarat, and Rajasthan, as well as the Dravidian kingdoms (Pandya, Chola, Pallava) and Karnatak dynasties (Hoysala).

6. Decline and Preservation of Art:

   • The text laments the decline of art after the 13th century, attributing it to invasions and the rule of iconoclastic invaders, particularly in North India.
   • It praises the efforts of artisans from Gujarat, Rajasthan, Odisha, Dravida, Madhya Pradesh, and Karnataka for their role in preserving Indian Shilpa-sthapatya.
   • The author expresses concern about the negative influence of Western imitation on contemporary Indian art, leading to the distortion and destruction of traditional forms.

7. The Artistic Process and the Artisan:

   • The book emphasizes the artisan's skill, patience, and devotion in transforming raw stone into divine forms.
   • The artisan's language is seen as a means to express profound national thoughts, with their craftsmanship speaking across time and space.

8. Components of Sculptural Representation (Detailed Chapters): The text systematically breaks down the elements of iconography:

   • Murti Puja (Idol Worship): Discusses the ancient origins and prevalence of idol worship across various cultures.
   • Pratima Mana-Pramana: Talmana (Iconometry/Measurement): Explains the system of measurement (Talmana) for idols, using angulas (fingers) and Tals (units of measurement, typically 12 angulas), and how these proportions vary for different deities and even ages of deities.
   • Pratima ka Varna aur uska Vastudravya (Idol's Color and Material): Discusses the prescribed colors for deities and the suitability of various materials like stone, metal, wood, and clay, along with methods for selecting stone.
   • Hastmudrayen (Hand Gestures): Details various hand mudras (Varada, Abhaya, Jnana, etc.) used in sculpture and dance, their significance, and regional variations in their depiction.
   • Padmudra aur Aasan (Foot Gestures and Postures): Describes different seated postures (Asanas) like Padmasana, Swastikasana, Bhadrasana, Utkatasana, and standing postures, and their relevance in representing deities.
   • Pothika (Pedestal): Explains different types of pedestals or bases for idols, with particular emphasis on Dravidian traditions.
   • Sharir-mudra (Body Postures): Details various body postures like Samapada, Tribhanga, Atibhanga, Alidha, Pratyalidha, explaining how these convey expression and dynamism.
   • Vahana (Vehicles): Lists the specific vehicles associated with various deities, signifying their attributes and nature.
   • Nritya (Dance): Explores the art of dance, its divine origins (Shiva's Tandava), its relationship with music and rhythm, and its depiction in sculptures, particularly the Tandava and Lasya forms.
   • Shodasha-abharana (Ornaments): A detailed account of sixteen types of ornaments prescribed for deities, discussing their forms, materials, and regional variations in styles across different periods and regions.
   • Ayudha (Weapons/Attributes): Lists and describes various weapons and symbolic objects held by deities, categorizing them into Tamasic, Rajasic, and Sattvic types.
   • Parikara (Decorative Frames/Auras): Explains the ornamental frameworks surrounding principal deities, often depicting accompanying figures like attendants, musicians, celestial beings, and associated symbols.
   • Vyaala Swarupa (Forms of Mythical Creatures): Discusses the depiction of hybrid creatures (Vyala), often with a lion's body and various animal or human heads, used as decorative motifs in temple architecture.
   • Devanuchara, Asuradi Akonvinshati Swarupa (Celestial Followers, Asuras, etc.): Details the iconography of various celestial beings, demi-gods, demons, spirits, and their representations in art.
   • Devangana Swarupa (Forms of Celestial Maidens/Apsaras): Provides extensive descriptions of various celestial damsels, their postures, gestures, musical instruments, and the legends associated with them, with specific examples from different regions.
   • Deity Forms (Deva Swarupa): The latter part of the book moves into describing specific deities:
     • Brahma: His creation myths, epithets, iconography, and reasons for diminished worship.
     • Vishnu: His avatars (Dashaavatara and others), iconography, the symbolism of his attributes, and regional variations in his worship.
     • Mahesh-Shiva-Rudra: His multiple forms, epithets, the significance of the Lingam, his ascetic nature, and his various iconic representations.
     • Devi-Shakti Swarupa: An exhaustive section on the various forms of Goddesses, including Navadurgas, Saptamatrikas, Mahakali, Mahalakshmi, Mahasaraswati, Lakshmi, Parvati, and others, detailing their iconography, vehicles, and attributes.
     • Dikpala (Guardians of Directions): Describes the eight directional guardians (Indra, Agni, Yama, Nirriti, Varuna, Vayu, Soma/Kuvera, Ishana) and their attributes, vehicles, and positions in temple architecture, as well as the concept of ten Dikpalas including Brahma and Ananta.
     • Graha Swarupa (Forms of Planets): Details the iconography of the nine planets (Surya, Chandra, Mangala, Budha, Guru, Shukra, Shani, Rahu, Ketu), their attributes, vehicles, and importance in astrology and worship.
     • Prakirnaka Deva (Miscellaneous Deities): Covers deities like Ganesha (various forms), Kartikeya (Skanda), Hanuman (various forms), Vishwakarma, and other miscellaneous deities and their iconic representations.
     • Jain Prakaraṇa (Jain Iconography): A dedicated section discussing Jain traditions, the Tirthankaras (their characteristics, symbols, attendants), the concepts of Meru Giri, Nandishwar Dwipa, Samavasarana, Ashoka Tree, and other specific Jain architectural and sculptural elements. It also touches upon the relationship between Jainism and other Indian religions.

Author's Personal Contribution and Legacy: The author, Padmashri Prabhashankar O. Sompura, a renowned Shilp Visharad, attributes his passion and knowledge to his family tradition and rigorous study of ancient texts. He mentions receiving inspiration from his late son, Balvantray. He highlights his personal involvement in the restoration and construction of significant temples, including the Somnath Mahaprasad. The book is presented as a culmination of his lifelong dedication to the preservation and understanding of Indian art.

Sources and Influences: The book extensively references numerous ancient Sanskrit texts on Shilpa Shastra, Vastu Shastra, Puranas, Agamas, and Tantric literature. The author acknowledges his debt to these traditional sources.

Target Audience: The book is intended for architects, sculptors, artists, art historians, scholars, and enthusiasts of Indian art and architecture.

In essence, "Bharatiya Shilpsamhita" is a monumental work that serves as a detailed guide to the principles, techniques, and mythological underpinnings of Indian sculptural and architectural traditions, offering a rich repository of information on deity iconography and temple design across various Hindu and Jain traditions.