Manasara Series (I. A Dictionary of Hindu Architecture; II. Indian Architecture according to Manasara-Shilpashastra; III. Manasara on Architecture and Sculpture: Sanskrit Text; IV. Architecture of Manasara: Translation; V. Architecture of Manasara: Illustrations; VI. Hindu Architecture in India and Abroad; VII. An Encyclopaedia of Hindu Architecture) v6.c39.12
Mānasāra Series (I. A Dictionary of Hindu Architecture; II. Indian Architecture according to Mānasāra-Śilpaśāstra; III. Mānasāra on Architecture and Sculpture: Sanskrit Text; IV. Architecture of Mānasāra: Translation; V. Architecture of Mānasāra: Illustrations; VI. Hindu Architecture in India and Abroad; VII. An Encyclopaedia of Hindu Architecture) v6.c39.12
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v6.c39.12
But in spite of all these explanations one cannot help thinking that at the time of the *Śrīmad-bhāgavata*, as well as in the different times of its commentaries, there was no practical knowledge of all the sixty-four arts; because, otherwise, the authors of these treatises could not have passed over the point so light-heartedly; further, in other literature such an indifference is not met with. In the times of the *Vishṇu-purāṇa* and the *Harivaṁśa*, however, the state of things seems to have been different. The arts were then living objects; they were then more real, more practical; at any rate people had more familiarity with them.