Human and Nature in Indian Art: Reading the Vishnudharmottara Purana Today

Table of Contents Introduction Depiction of human figures The figures may appear in various positions, of which nine are the leading attitudes pattavvāgata - the front view anrju - the back view sachikrtasarira -a bent position in profile view ardhavilochana -the face in profile, the body in three-quarter profile view pārśvāgata-the side view proper (The different) classes of hair are the following Depictions of nature Introduction The Vishnudharmottara Purana offers one of the earliest and most detailed frameworks for understanding painting in the Indian tradition, where art is not merely decorative but deeply rooted in observation, meaning and lived experience. Among its many insights, the text pays particular attention to the depiction of human figures and the natural world, emphasising that both must be rendered with sensitivity to context, proportion and essence. Human beings, it suggests, are not abstract forms but individuals shaped by their region, occupation, attire and social identity, while nature is not a passive backdrop but an active participant, imbued with symbolism, movement and life. From the bend of a figure to the flow of a river, from the posture of a dancer to the clustering of trees in a forest, every element is guided by an underlying visual logic. What makes this framework particularly compelling is how strongly it resonates with contemporary Indian art. Across folk, tribal and classical traditions, artists continue to depict people and landscapes not as isolated subjects but as interconnected expressions of culture, environment, and emotion. This article explores how these classical ideas continue to find form in living practices today. Depiction of human figures According to the text, “The chief aim of a painting is to produce an exact likeness. Men should be painted according to their country; their colour, dress and (general) appearance should be well observed. Having carefully ascertained the country, employment and place (of occupation) and the work (a man is engaged in), seat, bed, conveyance and dress should be drawn correspondingly.” Different Indian painting traditions visually encode where a person belongs through dress, body type and environment. In Pahari (Kangra) miniatures, figures are shown in soft-featured forms, dressed in flowing garments suited to the Himalayan climate, often set against lush, hilly landscapes.