Female Nude- The Indian Story

 

In Indian art, the depiction of the human body varies significantly from western realism. Rather than focusing solely on anatomical accuracy, the body serves as a conduit for representing natural elements such as light, air, water, and trees. Alternatively, in some instances, the presence of a person is symbolized through objects like the Bodhi tree or wheel that represents the Buddha. John Guy in "Indian Temple Sculpture" very well surmises, “Meditation on the god within represents a higher state of worship than the veneration of images nonetheless the need was recognised early in the development of Indian religions that such levels of devotion were not for everyone and that the use of images was a necessary aid for worship by the populace at large.”

Semi nude Shalabhanjika from Sanchi Stupa, 2nd c BCE to 1st c CE

Jain Tirthankar and the Digambar sect have no form of cloth on their bodies

Madanika from Chennakeshava Temple dedicated to Vishnu in 1117 CE

Indian art has consistently avoided western realism, favouring idealised representations of human beings, their material world and nature across various mediums, including temple sculptures, cave paintings, and folk art traditions. Having said so, one cannot deny the diversity of body types depicted in Indian art. From pot-bellied gods to voluptuous women, and from dwarfs to giants, the range of human forms is vast and inclusive. Yakshis, Alasya Kanyas, Surasundaris have been draped in diaphanous clothes- Each figure embodied its own symbolism and significance.
Only with Mughal portraiture and later European academic influences, there were attempts at likeness and realism. While Mughal paintings had complete absence of prominent females (for ex. Padshahnama has no portrait of the beloved wife for whom Taj Mahal is dedicated), the architecture denied the image of a human figure altogether owing to the religion's aversion to idolatry. The European influences during Jahangir's period brought in the bare breasted Mother with child in Persian settings. 

Mother and child, Jahangir Al Album ca 1598

Once the EIC took over, art schools were set up to educate local artisans to enhance their craftsmanship and fulfil the objectives of the British colonial administration. The curriculum drew inspiration from the South Kensington School of Art in London. Following the tenures of Kipling and Cecil Burns, Solomon Gladstone assumed the role of principal of Sir JJ School of Art, Bombay (Now Mumbai). He introduced nude study classes which run to this day.

Collage created from academic works by the author

Having longed to attend a prestigious institution where renowned artists had honed their skills, I was overjoyed upon being accepted into the Painting department at Sir JJ School of Art. After establishing a solid foundation in drawing and composition, I progressed to the third year, where we were granted the freedom to explore various compositions and participate in nude study classes. Given my previous struggles with anatomy due to our limited access to draped models, I approached these classes with a mixture of anticipation and anxiety. As the class commenced, the doors were closed to outsiders, and our teacher provided a brief introduction before the model, known affectionately as Amma, disrobed and took her place on the raised platform. A hush fell over the room as we began sketching with charcoal sticks. During breaks, Amma would cover herself with her saree, and some students would even share their meals with her. After several days of sketching, we transitioned to oil painting. It was during one of these painting sessions that my insecurities about body image and societal norms of beauty began to dissipate. Inspired by Amma's confidence, I felt compelled to shed my own inhibitions and embrace vulnerability. I realized the liberating power of embracing one's authenticity. I found the body just a motif since even my body would someday look like Amma’s.

My idea of body is of it being just a vessel that carries an identity for some time, maybe, hopefully to cross the ocean of samsara. Therefore, the people that populate my paintings have no facial features, they are floating bodies draped according to their social environment. Just as actors in a play who shed the attires after the performance.  William Shakespeare's poem,"All the world's a stage" is also rooted in the same idea.

All the world's a stage

And all the men and women merely players;
They have their exits and their entrances,
And one man in his time plays many parts,
His acts being seven ages.....

The idea is also similar to the idealised depictions in ancient Indian sculptures. The following lines of Akka Mahadevi and Janabai, both medieval Bhakti saints, have captured the losing of identity and sex. They understand the impermanence of body when one gains enlightenment aka knows god.

 "....after this body has known my lord who cares if it feeds a dog or soaks up water?"... Akka Mahadevi

Translation of the above Janabai's poem :

 

Peace settled on me

Waves of happiness flowed over me

I have become happy in all respects

I am indifferent to my sex and body

I am one with god

Now there is no ‘I’

 

References:

Pg. 92 Indian temple sculpture by John Guy 2004

Pg117 Akka Mahadevi - Speaking of Shiva by AK Ramanujan 1973

Pg 963 Janabaincha Gatha, Sant Namdev Gatha 1982

Place for People manifesto by Geeta Kapur 1981

Rajlakshmi Jadhav

Art Historian and Visual Artist

rajlakshmijadhav05@gmail.com

Date: 10 June 2024