About the Form
The primary thought of this aphorism was learning the observation technique, including an insignificant part of the natural objects and discovering a specific object's inner form. We know that each life or non-life form of the natural things is executed by maintaining a systematic relationship with each other. The shape originated from the differential factor of each physical world element established in the systematic harmonious fluctuation. Therefore, according to the author, the form is endless and eternal, and it is confirmed by maintaining a systematic harmonious arrangement or relation to each other within our physical world. It was the concept that form itself has an extended power that would not depend on the outward shape of an object. For that, an artist needs to observe an object not only with the five organs of sense but also by using the sixth sense. The author's opinion was that there is no magical method you can follow to extract the hidden form of an object. It would be best if you felt it; only the system discovers a new form. There is no specific universal guideline that can help you with your observation.
Now you can ask what the author meant by "FEEL"?
Here is an example of the speech of a great Indian artist and poet named Rabindranath Tagore, who stated that he usually avoids observing any object for a long time; instead, he loves to take a glance that assists him in reforming the object with his meditative intuition. It's a fantastic example of an artistic observation using the sixth sense! It will aid you in recognizing the inner form with your estimation and feelings regarding the object you just watched.
When you dive into the ocean of form, you cannot define which one is a form or not. Therefore, the author did not say anywhere that it is a form, and this one is not; accept it and reject the rest. There is nothing about any controversy between good and bad. It all just depends on your feelings that have come from your style of observation.
A specific form or style you are following and making your own, and others you reject as a useless matter; however, you have to think that everything is perfect in its own way and concept; as I stated above, the form may be endless and eternal. It's also possible that the same form you appreciated, which other artists reject because it depends on the personality, experiences, and even the born and brought up of an artist. The people set out controversies concerning the good versus bad, which depend on their observation and adaptation abilities.
Here, it is necessary to explain the meaning of the first aphorism, "RUP VEDHA." The sense of "RUP" is formed, and VEDHA – means discover. On the other hand, he wanted to explain how it would be possible to reveal the hidden form of a specific object and how you understand/realize the differential factors between two objects.
According to the author's concept, there is only one form, and it is eternal. The discovery of a new one would depend on the structure of the mind and transparency of the viewer's vision, who is watching the object.
Artists have always tried to explain their feelings on canvas to the best of their ability. Here is a difference between photography and painting. The camera always catches the visible form of the object, which is represented as the external form and is realistic. In contrast, an artist always tries to describe an object's hidden (internal) form that could be far different from the actual form. It is the primary learnable matter. The author said the artist should try to reveal the internal structure using the line drawing first because only the line can convey all the emotional effects and has the supreme power to express everything! We can easily find the truth of his words if we see the cave paintings of Ajanta, miniature paintings of the historical Mughal era of India, etc. The author gave the highest label of precedence to the line drawing because he stated the line is not only a primary factor in describing an object. Instead, it helps to recognize the reformation you created by following the object and making it live. He also explained that lines are visible everywhere in our surrounding nature, consequently with the form.
Here, you read a grammatical concept of BC 200 century when spiritualism governed the human lifespan. Therefore, the author is mainly inspired by the spiritual trend of thought. According to his idea, all artists usually go a long way in rejection and acceptance during the learning period until they find the highest point of their satisfaction. He will find his own form and style when all his confusion is destroyed, and he will realize that form and its hidden beauty are just a unique expression of the Almighty Creator. The author conceived that none of this world of form deserved to be underestimated. It would be the highest point of an artist's realization when he feels about himself as a tiny contributor to God's tremendous creation, and form is the eternal matter, just like that greatest Creator. Every artistic ego will be destroyed accordingly with his realization.
Although the above speech of the most excellent author, Vatsyayan, bears the smell of the spiritual trend of the BC 200 century, only a single word of the author is correct or insignificant if we think deeply about it.
At last, we will try to find out the gist of the above discussion: -
1. The meaning of Rup vedha. – Discover the new form based on our artistic observation throughout the physical world.
2. How to discover—Use the feelings of our sixth sense to help you reform the natural object with your meditative intuition.
3. What is form? Form is an outward shape of an object that originated by the differential factor of each element of the physical world and is established by systematic harmonious fluctuation.
In the next chapter, I'll continue regarding the second aphorism, Pramanam.
*Image Resource - Form in Art
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