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Labannyayojonam: The Fourth Aphorism

Updated: Mar 9

Creating Luminosity

This chapter of the grammar I am about to represent is related to the luminosity of the painting. The Labannyayojonam refers to the Fourth Aphorism. Before starting the discussion, it is necessary to perceive luminosity. Remember that form spreads everywhere in the universe, but luminance is consequently unavailable with form. It has a separate impact that is resplendent by overlapping the form. The meaning of “Labannayojonam” is creating a luminosity and expanding its beauty. Affirming the oldest author’s description, I considered it insufficient to develop a visual beauty on canvas. To achieve complete success, it is necessary to have the luminosity in a painting.

The sense of luminosity would depend on the disposition of a soul. The author has given an example: a bit of dry wood comes with several utilities for various individuals. When a woodcutter looks at this piece, it will go him as fuel for his cooking, whereas, in the case of an artist, it would become a severe element of his subsequent new work. It would be useless to the view of a monk. Luminosity depends on this way. We will not find luminosity in the destruction or death, although it has owned a form and fashion. Luminosity is the best part of the form of a painting or sculpture, but granting to the conduct, it does not cover all the form of a human figure until it is nude; instead, it takes place in lips, eyes, body language, or it may take place internally. An artist may depict a painting of a skeleton or a pile of sweepings. In that painting, we may determine a form, but we will not be able to find out the luminosity in that painting.

Lord Shiva with Parvati in a pleasant mood

What are the primary activities of luminosity in painting? The author described that it helps to change the unrestrained form into an attentive course.  He brought the instance of the NATARAJA statue as an ideal expressive form where the artist makes an imaginary furious expression of Lord Shiva; however, we found many statues of Lord Shiva in a pleasant mood when he is with his wife. In the NATARAJA statue, we would not find the luminosity we have seen in the couple statues of Lord Shiva inserted above.

Here is a notable fact depicted by the author: the luminosity never depends on color! This opinion clarifies that a young black girl sometimes looks sweeter than a white-skinned girl. In my life, I noticed the truth of those words several times. The luminosity helps to expose the hidden beauty that is not describable in language; it becomes only discoverable by the purity of artistic vision and sense. Luminosity is conceded with the cooperation of Form and emotion. The color you are using only helps to describe the object's luminosity. In other words, your style of color-making allows you to define the luminosity of your object. It would not extend if emotion does not nourish the form. It gives the life to form.  The elegance of a Doe is placed on the rich black eyes of that Doe. Those eyes help to create the luminance in the doe’s face.

Although luminosity always hides under the form, in some rare cases, it clearly reveals that it depends on a particular situation or moment. That moment may appear for one or two minutes without previous notice and has no chance to revert. Here is a little example of such a situation I experienced, - 

One day, I met a rough-faced blackish poor village housewife with her tattered clothes. She was talking to me. That woman was not attention-grabbing; however, when she saw her four-year-old boy coming back from school, she sweetly called him with a smiling face. It was just a few seconds, but I noticed her fantastic smile on that roughed face. As a metaphor, it looks like a bit of sunshine revealed from a blackish-cloudy sky. It is the luminosity!! It may appear anywhere and anytime without previous notice. Artists should have to be conscious of that situation or moment to respect the interior elegance of a figure or object. Here, experience is a primary factor in letting out the luminosity.

Luminosity in pearl

The author has given a beautiful example of a pearl and affirmed that the luminousness of the body color would be similar to the lightening shadow of the inner side of the pearl.  He described the luminosity of a pearl hiding in the inner side of it, where a liquid, transparent shadow increases the luminance of the bead. It would not be a matter of deprivation or loss if it would remain absent in pearl. Nevertheless, that crucial thing builds itself into a covetable value for us. We feel cheerfulness when we watch it, which brings us another meaning, and we realize why we should take more time to live in our beautiful world.   

Now we have to find out the gist of the discussion, 

1. What is luminosity?

Luminosity is the soul of a painting that is conceded with the cooperation of form and emotion.

2. How do you create luminosity in a painting?

There is no magical way to create the luminosity in a painting. Only you have to be conscious of that situation or moment to respect the interior elegance of a figure or object. Here, experience is a primary factor in letting out the luminosity. On the other hand, it depends on your style of color-making.

3. How do we determine the luminosity in our surrounding nature or an object?

It entirely depends on the artistic vision and experience. Luminosity works internally with the form, but in some rare cases, it reveals very clearly that it relies on a particular situation or moment. 

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