Rup Vedha, the First Aphorism

 About the Form

The main idea of this aphorism was to learn the observation technique, including paying attention to insignificant parts of natural objects, and discovering the object's inner form. We know that every life or non-life form in nature exists through maintaining a systematic relationship with others. The shape arises from the differential factors of each physical element in the systematic, harmonious fluctuation. Therefore, according to the author, the form is endless and eternal, supported by maintaining a systematic, harmonious arrangement or relationship within our physical world. It was the concept that form itself has an inherent power that is not determined by an object's outward shape. For this reason, an artist needs to observe an object not only with the five senses but also with the sixth sense. The author's view was that there is no magical method to uncover the hidden form of an object. You must feel it; only the system reveals a new form. There is no universal guideline that can assist your observation.

A systematic, harmonious arrangement in nature

Now you can ask what the author meant by "FEEL"?

Portrait of Rabindranath Tagore

Rabindranath Tagore, a renowned Indian artist and poet, shared his distinct perspective on observation and creativity. He preferred not to gaze at objects for long periods. Instead, Tagore endorsed a fleeting glance that allowed him to grasp the essence of an object through meditative intuition. This approach embodies an artistic observation that surpasses the ordinary, engaging what he called the "sixth sense."

By cultivating this intuitive glance, Tagore believed that one could enrich one's understanding and perception of the world around them. This method encourages a deeper recognition of the inner form or inherent beauty of the object being observed, engaging not just the eyes but also the heart and mind. In this way, each encounter becomes a moment of transformative insight, where personal feelings and estimations converge to reveal the true nature of the subject at hand. This perspective invites others to explore their creativity and perception, urging them to acknowledge the subtleties that lie beyond the surface.

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, depends on the personality, experiences, and even the upbringing of an artist. The people set out controversies concerning the good versus the bad, which depend on their observation and adaptation abilities.

An Example of form

Here, it is necessary to explain the meaning of the first aphorism, "RUP VEDHA." The sense of "RUP" is formed, and VEDHA means to 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 the 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 that 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 I want to include a wonderful quote from Salvador Dali, who once stated: "Drawing is the soul of painting, and here are no possibilities of chitting, it's either good or bad."

Artist at work

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 through a long process of 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 the greatest Creator. Every artistic ego will be destroyed according to his realization.

Although the above speech by the most excellent author Vatsyayan bears the scent of the spiritual trend of the BC 200 century, every single word of the author is correct and significant 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 the outward shape of an object that originated from the differential factor of each element of the physical world and is established by systematic, harmonious fluctuation.

In the next chapter, I'll continue the second aphorism, Pramanam.

Image attribution [Portrait of Rabindranath Tagore]