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| Home > Types Of Sculpture > Techniques and Expressions > Techniques In Indian Sculptures
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| | Techniques In Indian Sculptures
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The techniques used to achieve the plastic, static aspect of Indian sculpture & its spatial content plays an important role. But consideration of its linear basis is also equally important. It is clear from the art itself and from literary evidence that lines and linear patterns dominate to the picture of the Indian art. The sculpture and the painting of any region are closely linked with each other as they are developed in terms of the same basic linear patterns. For example, if we compare the Pala paintings of Bihar and Nepal with the corresponding sculpture; or figures of the Western Indian manuscript of the tenth century with carvings of Khajuraho or Modera. Or the types of the Oriya MSS making allowance with those of Konarak. The systems of contours and proportions correspond to such an extent that it is virtually possible to superimpose a painting and a sculpture of the same subject almost without conflict.
The manner, which follows the basic linear invention of an Indian composition, is turned into the sculpture by the usual sculptor`s method. It is called as `development`method. In this method, the evolution of a three-dimensional `function` of the line is used in a mathematical term. Similar as the line is the locus of a moving point, a linear development is the locus of a moving line.
For example, the outer surface of a pot is the function of revolution of an unchanging,  well-inflected & non-geometrical line An well-inflected sculptural form is considered as a function of a changing line that is developed to combine the differing contours, which defines the basic pattern of the form. The artist depending upon the plastic intentions of it decides the manner of development for line. That means the kind of static, spatial forms, which he conceives in mind forms the criteria. But largely, it is the degree of care and suggestive skill by which the sculptor modulates the changing line for establishing the surface that marks the quality of his work.
This illustrates the point that a unit-surface of sculpture is determined by the continuity of a single linear development. Especially in Indian art this appears as a continuous, unbroken contour as the form revolves around the vertical axis or as a continuous unbroken light-line in the highlight. Still, it is the property of sculpture bringing out a clear form with the help of such a light-line that is combined with the darkening effect of a transparent weave.
It is with the conformity with the intense monistic striving of the Indian mind, the greater sculptors tried to unite the contours of different forms by composing a single figure within a single contour or light-line that too with as few breaks as possible with making those breaks smoothly prepared.
In some sculpture like the goddesses of Aurangabad, this continuity can be seen as virtually complete. In fact, from this intention flourishes the often observed `suavity` and `fluidity` of Indian sculpture. Similarly from it derives the common technique used by the Indians in dealing with occasional ornaments or the folds of drapery. The folds of drapery can be shown as mere incised lines, or raised sinuous panels on otherwise continuous surfaces. Obviously, the association between these conceptions and the strip-cutting technique is marked in sculpture.
An another technique of linear form is distinctively Indian originated. This is nothing but a repeated use of deeply curved loops in order to create a sense of enclosed volume & space. For example, to show the curves of necklaces, bracelets and hip girdles vanishing behind the body, they embrace with the emphatic suggestion that the loops close there, out of sight.
In the same way, the deep curves of the contours of cheeks or breasts, or of hairlines, are designed with due care to have plane-presentations of the three-dimensional sections of the forms. Wherever creases or folds of flesh appear on the body of image, they are amply curved from both in the front-plane elevation and in the plan-dimensions of depth. In order to show the cylindrical shapes of objects as sticks, clubs or pots, they are emphasized either by exaggerating their thickness and volume, or by adding metrical ornament, which the eye perceives as the volume turns.
With these methods used for achieving the internal coherence of individual figures, the Indian artists employed a common technique to produce an exterior unity in the visual field that falls into the category of design. This includes the composition that is done across the visible surface of the relief of all the different components like arms, legs of one figure or many, into a system of relationships.
And it is rightly said that the Indian sculptor was never at all in conflict to representing foreshortened forms, with their axes that are running into the depth of the relief. Similarly the axes were never used by artists to carry the main weight of the design. This was decided as a prime function of the contours that makes an appearance to the eyes of an interlocking series of parallel or `echoing` curves. And as it is a characteristic of Indian sculpture, to make use of few basic forms in any given figure is relatively simple compared to the structure of Michelangelo.
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