To which name is 'Colour Harmony' called in six limbs of Indian painting?

Question

Accepted Answer

The correct option is 1:
The correct answer is **Varnika Bhang**. This term, also written as *Varnikabhanga*, is the sixth and final of the *Shadanga*, or Six Limbs of Indian Painting, which are the foundational canons of traditional Indian art first mentioned in Vatsyayana's *Kamasutra*. The word is a compound of *Varnika*, meaning color or pigment, and *Bhanga*, which implies division, differentiation, or artistic application. Therefore, *Varnika Bhang* specifically refers to the artistic and skillful use of the brush and colours, encompassing concepts like color differentiation, color scheme, and the creation of an aesthetic sense through the harmony of hues. It emphasizes the painter's profound knowledge of colours, their blending, and their capacity to evoke the correct mood and atmosphere, which is precisely what 'Colour Harmony' signifies in art theory.

The incorrect option is 2:
**Toolika Bhang** is not recognized as one of the traditional Six Limbs of Indian Painting (*Shadanga*). The term *Toolika* refers to the artist's brush, and while the application of the brush is a vital part of painting, the comprehensive principle dealing with color, harmony, and application is *Varnika Bhang*. The accepted *Shadanga* are Rupa-bheda, Pramanani, Bhava, Lavanya-yojanam, Sadrisyam, and Varnikabhanga, a list of canons that were codified to govern a complete and flawless artwork. The phrase *Toolika Bhang* is sometimes used descriptively to refer to the technique of brushwork, but it is not a formal, independent canon governing 'Colour Harmony' within this established system.

The incorrect option is 3:
**Tribhang** is actually the name of a specific posture found primarily in Indian classical sculpture and dance, not a principle of colour. Correctly spelled *Tribhanga*, it literally means 'three bends' and describes a standing human figure that is deflected at the neck, waist, and knee, forming a graceful S-shape. This bodily posture is a key element of compositional grace and dynamism, often used to depict figures in relaxed or divine states, such as Krishna. It is related to Rupa-bheda (knowledge of form) and Lavanya-yojanam (infusion of grace), but its focus is on three-dimensional form and rhythm, having no direct relationship to the artistic principles of colour application or 'Colour Harmony'.

The incorrect option is 4:
**Atibhang** is also a sculptural term, correctly *Atibhanga*, which means 'excessive bend' or an overly exaggerated version of the *Tribhanga* pose. This highly dramatic posture is typically used to depict figures in intense movement or powerful emotional states. Like its milder counterpart, *Tribhanga*, this is a concept focused on the human figure's structural and expressive qualities. It falls under the domains of Rupa-bheda (form) or Bhava (expression) within the *Shadanga*. Therefore, *Atibhang* relates to the body language and physical form of the subject, and it is unrelated to the artistic treatment of colours, colour scheme, or 'Colour Harmony'.