Pramāṇa · Search · About · API

Vastu-shastra (Vol. I: Hindu Science of Architecture; Vol. II: Hindu Canons of Iconography and Painting) v2: Volume 2

Vāstu-śāstra (Vol. I: Hindu Science of Architecture; Vol. II: Hindu Canons of Iconography and Painting) v2

Language
English

Contents

Volume 2

Front matter

v2.c68.1

Digitized with financial assistance from Dr. Devangana J. Desai on 14 February, 2019

Vastu-Sastra Vol. II: Hindu Canons of Iconography & Painting

v2.c69.2

[ With an anthology of Pratimā-lakṣaṇa and Citra-lakṣaṇa as well as an outline history of Indian painting, archaeological and literary ]

v2.c69.4

*Dr. D. N. Shukla* *M. A. (Sansk.); M. A. (Phil.); Ph. D. (Sansk.); D. Litt. (A. I. H. A.);* *Ṣāhityāchārya; Sahitya-ratna* and *Kavyatīrtha*

v2.c69.5

*Sanskrit Dept.* **Gorakhpur University** **Gorakhpur**

Dedication

v2.c70.1

to

v2.c70.2

Lord Brahma

v2.c70.3

Who has very scantly been treated for his cult-images and cult shrines,-perhaps due to some curse—vide p. 179—which evidently reflect the popular mind, nevertheless he is the ideal god who can inspire humanity for perpetual endeavour—the Sādhanā, the struggle for that Creative Power (which is another name of Humanity) with unabated vigour, uublemished wisdom and unsophisticated living.

Foreword

v2.c71.1

I deem it a privilege and also my duty to write a foreword for Dr. D. N. Shukla's book on *Hindu Canons of Iconography and Painting*, which forms Vol. IX of the Bhāratīya Vāstu-śāstra Series. The series was planned out by Dr. Shukla himself, and he has already published five Volumes of it. Of these as many as four are in Hindi, the fifth one on *Hindu Canons of Painting* being in English. This shows the bulk and magnitude of the work already done by him, and he intends to follow it up by bringing out Volumes on Hindu Canons of Architecture, which will constitute the remainder of the series. It has been possible for this comparatively young scholar to do so much work of this highly technical character, for he has combined in him a very intimate knowledge of Sanskrit with a first hand experience about the architectural, iconographic and pictorial remains of ancient and medieval India. This is a combination rarely to be found among scholars engaged in the pursuit of similar studies, and I am sure he will be able to throw much further light on this branch of Indology. I have long been acquainted with the progress of his work, and I can say without any hesitation that he has all along been sincere and conscientious in his scholarly researches. His treatment of the various topics connected with his subject has always been critical, and his appraisal of the views of previous writers has been fair and just. I have no doubt that the Government of the Uttar Pradesh and the Government of the Indian Union will extend to him their full patronage in the matter of the publication of his further researches.

v2.c71.2

It should be emphasised in this connection that he is not only advancing the bounds of our knowledge in this fascinating branch of Indology, but he is also enriching the technical side of Hindi literature by writing many of these books in the Rāshtrabhāshā.

v2.c71.3

In fine, I can only observe that the present work on the Hindu Canons of Iconography and Painting is one of considerable merit, and I am sure it will receive attention and appreciation from the world of scholars, which it so thoroughly deserves.

v2.c71.4

J. N. Banerjea Carmichael Professor of Ancient Indian History and Culture, Calcutta University

Introduction

v2.c72.1

This work—Vāstuśāstra Vols. I & II—Vol. II being published first, originally conceived as one of the series of a ten-to-fourteen-volume-project, under the general caption ‘Bhāratīya Vāstuśāstra’ instituted by me some years back, can now be said, a complete English version of my D. Litt. Thesis—“Foundations and Canons of Hindu Iconography (both sculptural and pictorial)”—the two parts i. e. Canons of Iconography (I) and Canons of Painting (III) wherein could also be submitted, along with my already published works—Pratimā-vijñāna, Pratimā-lakṣaṇa and Citra-lakṣaṇa.

v2.c72.2

The author, primarily a student of Vāstu-śāstra, when got enchanted with this fascinating lore of Śilpa-śāstra, has to say a word on the wide scope of Vāstu-śastra where Śilpa-śastra, the science of sculpture, and the canons of painting (the Citra-śāstra) are also included in its broader purview.

v2.c72.3

The English word ‘architecture’ does not and cannot denote and connote fully the Indian word ‘Vāstu’ (śāstra or kalā). In India the Science of Architecture—the Vāstu-śāstra has at least five main branches: the Canons of Town-planning; the Art of House-building (both secular and religious—secular being the residential houses of middle class people (House-architecture) as well as the palaces of kings (Palace-architecture) and religious being the abodes of gods—the temples—(Temple-architecture); the Canon of icon-making—Iconography (and also the art of sculpture, the rich heritage of India); the essential characteristics of Painting—Citra-lakṣaṇa and the art of the construction of the machines (mechanical devices) as well as the articles of furniture etc.

v2.c72.4

Fortunately this full-fledged scope of architecture is fully represented in the pages of the Samarāṅgaṇa-Sūtradhāra of King Bhojadeva of Dhārā, one of the greatest literary luminaries of India and the greatest patron of Art and Literature. The writer, a student of this magnificent book with the magnificant title, written by a magnificent king, while working for his Ph.D. Thesis “A study of Bhoja’s Samarāṅgaṇa-Sūtradhāra, a treatise on the science of Architecture”, naturally conceived the idea of pursuing this subject further up and this has resulted in brining out about five Volumes—Bhāratīya Vāstu-śāstra (Vāstu-vidyā evam Puraniveśa) dealing with a succinct outline history of Vāstu-vidyā and the ancient town-planning--both the rise and growth of the different and manifold types of towns and the Canons of Town-planning; the Prāsāda-vāstu (only one part is so far printed under the title ‘Hindū Prāsāda kī caturmukhī Pṛṣṭhabhūmi) and the three volumes already mentioned above—Pratimā-vijñāna, Pratimā-lakṣaṇa and Citra-lakṣaṇa.

v2.c72.5

The very high opinion of the renowned Indologists like Dr. J. N. Banerjea, Carmichael Professor of Ancient Indian History and Culture, Calcutta University, and Dr. V. S. Agarwal, Professor of Art and Architecture in the University of Vārāṇasī, and the felicitations received from so many other quarters as well as the patronage from the Uttara Pradesha Government and the University Grants Commission in the shape of subsidies and grant for publication of these researches, have also encouraged me a great deal to go ahead in my humble pursuit to make an attempt to open up a little fringe of that vast vista of vision—the India’s past.

v2.c72.6

Now when the Volume on Iconography, the ‘Pratima-Vijñāna’ came out, it attracted the notice of that silent savant, the renowed Buddhist and Pali scholar, Professor C. D. Chatterjea, Head of the Department of Ancient Indian History & Archaeology, Lucknow University, who liked this work very much, especially the angle of the treatment and he suggested I should now work on ‘An anthology of Pratimālakṣaṇas’ making an advancement on Sri Rao’s work. I took his advice to my heart and dedicated myself with heart and soul and added another volume to the subject. Later on a third volume, ‘An anthology of Citralakṣaṇa’ was also added and thus all these may be said to fittingly comprise the full subject of Indian Iconography.

v2.c72.7

Thus my iconographical studies comprised of the three volumes—
1. Pratimā-vijñāna.
2. Pratima-lakṣaṇa and
3. Citra-lakṣaṇa—constitute the four main pillars, on which the grand edifice of Hindu Iconography stands. These are the Background of Indian Iconography—the Institution of Worship (vide the 1st part, the ‘*Pūrva-pīṭhikā*’ of the ‘Pratimā-Vijñāna’ in full ten chapters and 169 pages); the Canons of Iconography (vide the 2nd part, the ‘Uttarapīṭhikā’ of ‘Pratimā—Vijñāna, the last seven chapters as well as the first Khaṇḍa of Pratimā-lakṣaṇa); the essential characteristics of Indian icons (Brāhmaṇa, Baudha and Jain—the exposition of which having been made briefly in the body of the Uttarapīṭhikā (Chapters 8—10) are fully and exhaustively shown corroborated from the original sources of Purāṇas, Āgamas, Śilpa-texts and other miscellaneous digests and anthologies (cf. the ‘Sources of Hindu Iconography'—the 2nd Chapter 'Pratimā-Vijñāna'—Uttarapiṭhikā) and gathered together in one volume (vide 'Pratimā-lakṣaṇa, II Khaṇḍa of eight paṭalas *i. e.* the parts) and lastly the Canons of Painting, the 'Citralak aṇa', forming an essential part of Hindu Iconography (the Citrajā images being very highly extolled in the religious digests like Haribhakti-vilāsa of Gopālabhaṭṭa).

v2.c72.8

Happily my Ph. D. Thesis, on account of its high merit (a pioneer work and the contributions which I could make there being regarded as so high that the award of Ph. D. Degree was the least credit for such a scientific and conscientious labour) was singled out by the University of Lucknow for seeking a substantial grant from the University Grants Commission, for its publication in an extended investigation. This gave me an added impetus to take considerable pains to make a fuller survey in such a manner of this subject as to evolve out a comprehensive work dealing practically with all the main branches of Hindu Iconography as already pointed out below; hence the emergence of this book.

v2.c72.9

This is, in short, the history of this work. Now let me come to the exposition of the subject-matter and contributions which I have been able to make in this very important and difficult branch of ancient Indian lore.

v2.c72.10

The subject of Indian Iconography is one of the most fascinating branches of Indology. It is not a pure art, it is applied theology, religion and philosophy, all embeded in one. Iconography, the science of image-making, forms one of the principal topics of Hindu science of the Vāstu—Architecture (cf. writer's Hindu Science of Architecture—the scope and the subject-matter of architecture) and the religious origin of Indian Architecture is well known. Naturally, therefore, Indian Iconography, unless studied in its background of the religious beliefs of the people; its treatment is only half done. It is from this broad cultural stand-point that the writer has devoted as many as ten chapters, a Daśādhyāyī, to the exposition of this background—the Institution of Worship.

v2.c72.11

Again Iconography in India is not an end itself, it is only an aid by means of which the spritual life, the religious craving and the pious dedications of the multitude of men in India were ennobled, satisfied and completed. Art for Art's sake may be a good dictum only so far as it aims at the development of the Art. The art when divested from the life in its spiritual inspiration and religious aspirations, becomes a dead art. The so called sensibility, the aestheticty or emotionalism as aroused by the creations of art, unless they aim at something higher and something nobler, are too not things of cultivation from Hindu view of life. It is from this fundamental background that studies on Indian Art—iconography, sculpture, architecture and painting should be taken up. After all, all these arts and sciences, thoughts and beliefs are only the different pillars, on which the great bridge of Hindu Culture has been built under which the sublime and divine current of life is flowing from the times immemorial. This current, though disturbed, is still flowing and the bridge of Hindu culture shows no sign of decline.

v2.c72.12

We know that the religious life of Hindus has had many transformations. The key-note of this religious life in India has been the quest of the object beyond this perceptible world. The life Divine, has always captured the life worldly. In the Ṛgvedic times the centre of the quest was manifold objects of natural phenomena, conceived as gods and goddesses, having their threefold divisions, those belonging to earth, midair and the sky. The cult of prayer (singing hymns of the Ṛgveda) was the first attempt to win over these divinities. Later on, the cult of sacrifice was in vogue (cf. Yajus-Saṃhitā, Brāhmaṇas and Kalpa-sūtras). Still later, the paraphernalia of sacrifice, the complicated ritual requiring manifold articles and involving a good deal of expenditure, both monetary and temporal, could not last long. Hence centre shifted from the extrenal quest to the Internal Ātman. This is what we learn from the Āraṇyakas and Upaniṣads.

v2.c72.13

In the Sūtra period, however, the problem was how to reconcile both these ancient institutions of sacrifice and meditation as arose and developed in the Brāhmaṇas and Upaniṣads. An orientation, therefore was felt necessary, to co-ordinate both the elements and the result was the rise of the Purāṇas, Āgamas, Tantras and the later systems of Indian philosophy and religion.

v2.c72.14

Despite a genuine effort on the part of the great thinkers of the past, however, a want was there. Both these institutions of complicated ritual and the philosophical or mystic meditation were not suited to the mass of huminity, the simple unsophisticated people, the ordinary run of men, forming the bulk of the population. Hence religious reform was undertaken and this could be accomplished only by a sage like Vyāsa, the celebrated author of Purāṇas. The Pūrāṇas gave the popular religion of Bhakti, the germs of which had already been there in that fountain head of Vedic lore itself (cf. Śvet. Up.).

v2.c72.15

Now with the dawn of the devotional movements, the propagation of the image-worship as advocated by the Purāṇas and the Āgamas aiming at the new orientation of the religious life of India after the sacrificial cult of the Vedas, a powerful impetus was provided for the erection of the temples and places of pilgrimage in every part of India giving rise to so many sacred places—dhāms, maṭhas, tīrthas and sacred shrines and temples all over India. Side by side this architectural upsurge, the corresponding and consequent necessity of the installation of the images of gods, more especially those of the two famous gods, Śiva and Viṣṇu, of the Hindu Trinity, was felt. Thus the origin and development of Architecture was synchronous with the origin and development of sculpture. It was with this background that almost all the treatises, all the manuals of architecture, both architectural like Viśvakarma-Prakāśa, Samarāṅgaṇa-Sūtradhāra, Aparājita-pracchā, Mayamata, Mānasāra, Agastya-sakalādhikāra, Śilparatna and a host of others and non-Architectural like Purāṇas, Āgamas, Tantras and Pratiṣṭhā works, etc. have devoted a good many chapters on the treatment of sculpture also.

v2.c72.16

Without going into the details of the subject-matter dealt with in the respective parts—vide the Introductory Chapters, it may be brought home to my readers that the arrangement of this work is comprised of as many as five parts: The ‘Introductory’ part deals very briefly with the foundations of Hindu Iconography (which has been treated in details in my Hindi work Pratimā-vijñāna and gets compensated here also cf. the part II. ‘The Icons and Iconology—an exposition of Pratimā-lakṣaṇas’). The first part deals with the canons of Iconography, systematised under suitable scientific headings bringing not only a good deal of new material, but also including some new elements for the first time, a reference to which may be seen in the Introductory chapter of this part. The second part dwells at length, with the Icons and Iconology—the exposition of Pratimā-lakṣaṇas in as many as eight chapters treating all the Indian images—Brāhmaṇa (Trimūrti, etc. Brāhma, Vaiṣṇava, Śaiva Gāṇapatya, Devī, the Sun—Ādityas, Navagrahas—and the Dikpāla ones and those pertaining to Yakṣas, Vidyādharas, Kinnaras, Nāgas, Vasus, Pitṛs, Ṛṣis and Bhaktas, etc.), Baudha and Jain, along with the background of their respective sectarian cults as well as their artistic (iconographic) evolutions and developments. The third part deals with the pictorial art (and iconography), the citrajā-images, the treatment of which under scientific art canons along with an outline history of painting, both from the archaeological and literary sources, may be taken as a first systematic attempt in the contemporary studies, to which detailed introductory remarks may be seen in the Introductory Chapter of this part. The fourth part is the compilation of the sources from the representative works be-to all classes of literature—Purāṇas, Āgamas, Śilpa-śāstras, Pratiṣṭhā works, etc., etc., bringing quite a good deal of material so far remained unworked by my predecessors, under three sections, Pratimā-vijñāna, Pratimā-lakṣaṇa and Citra-lakṣaṇa. Thus all these parts really represent only two divisions: the first, the exposition, the second, the sources. The unique feature of this compilation is its emergence of a modern manual on this art in Sanskrit.

v2.c72.17

Now, in the last, a very brief indication of the contributions, which I can claim, and the new path I have trodden, has to be made for the furtherance of the further studies, otherwise it is not very happy to sing one's own hymns of praises.

v2.c72.18

Not many a savant have contributed to the real genesis and development of this most fascinating branch of Indology—Hindu Science of Iconography. The first and foremost honoured place goes to that renowned South Indian writer, Sri T. Gopinath Rao, the celebrated author of the ‘Elements of Hindu Iconography’ in four volumes (Vols. I and II with parts I and II each). Rao's treatment of the subject, to some extent, remained confined to mainly the South Indian images. Sri Brindavan Bhattacharya's “Indian Images” a pioneering attempt to treat Indian Iconography from the cultural point of view, was in a way a complementary to Rao's work inasmuch as it confined itself to the exposition of the North Indian images. A good many other scholars, notably Smith, Coomarswamy, Kramrisch, Gangoli, Foucher, Grundwedel, V. & B. T Bhattacharyas and so many others were also famous contributors to this side-branch of Indian Art.

v2.c72.19

The next stage in the exposition of this subject begins from the monumental work of Dr. J. N. Banerjea, the Development of Hindu Iconography, where marshalling of the material connected with archaeological data, especially the epigraphic and numismatic one, which has been a long dessederatum was its greatest contribution. The recent studies of Sri Śivaramamurti, (cf. monographs like geographical and chronological background of Hindu Iconography; Sanskrit literature and Art, etc. etc.) have added a new angle to the contemporary artistic studies in India. An explanation, therefore, is needed how far does this work of mine, on the self same subject of Indian Iconography, make an advancement on the studies of previous scholars? I may, therefore, submit with all my humility, the following few facts for the consideration of the world of scholars intrested in this fascinating branch of Indology:

v2.c72.20

Being conscious of my limitations, attempting any far reaching advancement from the historical and archaeological point of view, I have chosen to treat this subject from the cultural and the literary (the Śāstric) points of view. This is the main contribution of this work. A detailed treatment on the Foundation of Indian Iconography, in as many as ten chapters (vide Pratimā-Vijñāna—Pūrvapīṭhikā) is the first systematic attempt to present all the allied topics connected with the background of Hindu Iconography—The Institution of Worship. Some of the topics like the bearing of image-worship on art and iconography in India as well as many-sided development of Indian icons in relation to the manifold religious sects and sub-sects together with the rise of Tīrthas both natural like Dhāms, Kṣetras, Khaṇḍs, Araṇyas and the man-made temples under the royal patronage in both the main parts of India—the South and the Noth, are some of the notable introductions to this foundation of Indian Iconography. The treatment of the rise and development of religious movements like Śaivism, Vaiṣṇavism, Śaktism, Saurism, Gāṇapatyism, neo-Buddhism (Vajrayāna etc.) and Jainism and an outline of the mode of worship, the Arcāpaddhati, etc. are also a new presentation in this study of mine. Thus Arcā, Arcya, Arcaka, Arcā-paddhati, Arcāgṛha etc. etc. - all these topics of the Pūrva-pīṭhikā of Pratimā-vijñāna have an intimate relationship towards the exposition and the foundation of Hindu Iconography.

v2.c72.21

The second contribution, which I can claim, is the systematic presentation of the canons of Iconography in which the materials of the authoritive compendia like the Samarāṅgaṇa-Sūtradhāra and Aparājita-pracchā have been included for the first time in the modern studies on Indian Iconography. Further again, in the canons, a good many new topics like the aestheticism, (the Rasa and Rasadṛṣṭis), Installation (Pratiṣṭhā, Pratimā and Prāsāda—both ritualistic and artistic) and a new interpretation of the Doctrine of Mudrās along with a notice of the principal texts on the sources of iconography and a brief outline of the sculptural sources and a valuable hint at the furtherance of these sculptural studies in future—all these may be viewed as an advancement in furtherance of these studies.

v2.c72.22

The third major contribution which the author can present to the scholarly world in this realm of Iconography is the preparation of a systematic anthology of Pratimā-lakṣaṇas in about ten thousand lines wherein, not only the traditional lakṣaṇas of the different deities are presented (vide II Khaṇḍa with eight parts) but the canons of iconography are also included (vide its I Khaṇḍa). The presentation of the material of the recently discovered texts like the S. S. and the A. P. as well so many other texts should also not go without credit.

v2.c72.23

The fourth notable contribution of this work is the equal prominence given to the pictorial art in the studies on Hindu Iconography. A critical and systematic treatment of the Citrajā images from the Śāstric point of view is the first attempt, and the compilation of the Citra-lakṣaṇa is a pioneering attempt in which all the principal literary sources like V. D., S. S., A. P., Ab. C. (Mānasollāsa) and S. R. have been fully exhausted under as many as 22 headings. Thus the Hindu canons of Painting based on as many as five principal and four subsidiary texts is the pioneer attempt systematised under the principal canons of art—vide Pt. III of this work and the separate edition under the title.

v2.c72.24

Lastly, though not least in importance, is the cultural background, the key-note of this work, which has served as a beacon light in exploring the depth of this very vast ocean of Vāstu-śāstra, which is unfathomable at many places, unaccessible and dark, though full of mysterious gems and for the successful crossing of which you need a ship of wisdom :

v2.c72.25

अप्रज्ञेयं दुरालोकं गूढार्थं बहुविस्तरम्
प्रज्ञापोतं समारूह्य प्राज्ञो वास्तुनिधिं तरेत् ॥

v2.c72.26

Further again, it would not be inappropriate to say that the exposition of such a technical science as Iconography also in Hindi, the national language of India (for the enrichment of which great enterprises as well as big projects are being undertaken by the Provincial and Central Governments and the Universities and the University-men should also not lag behind) for the first time is itself a landmark in the contemporary linguistic and literary national renaissance of our independent motherland.

v2.c72.27

Now I must remember my gurus. Prof. Iyer had prescribed, for my Ph. D. Thesis, Bhoja's Samarāṅgaṇa-sūtradhāra, a voluminous work dealing practically with all the principal topics of this technical branch, the Vāstuśāstra, and that gave me a life's task, first a study of this work, now a critical and comparative survey of the whole field of this most technical branch of Indology—vide my Bhāratīya Vastu-śāstra series—about a fourteen-volume-project. I, therefore, express my profoundest gratitude to him. For devoting a greater attention (than originally planned out) to these iconographical studies, I am specially indebted to Prof. C. D. Chatterji, and this has brought for me a first distinction in the University of Lucknow—the award of the D. Litt. Degree, from the Department of Ancient Indian History and Archaeology—vide my Thesis on the subject and the very high opinions on the work by illustrious savants of India like Mahāmahopādhyāya Sri V. V. Mirāśi and Dr. J. N. Banerjea, to both of whom I must express my heart-felt gratitude for their very apt appreciation and future encouragement. To the latter I owe a special debt of gratitude for the ‘Foreword’ of the work. Sri T. Gopinath Rao, Dr. P. K. Acharya, Dr. Bhandarkar, Dr. Kane, Dr. J. N. Banerjea, Sri Brindavan Bhattacharya, Sri B. T. Bhattacharya and so many other noted indologists who preceded me on this (and allied) branch are my real gurus, but for whose monumental works, this comprehensive survey would not have been possible in such a short time. I, therefore, offer my sincerest obligations to them. I shall suitably remember my other benefactors in the first volume of this work when it sees the light of the day by that Sustaining Grace which is the Real Author of These Researches. Before I finish I must thank Pt. B. N. Jha, the Vice-Chancellor of Gorakhpur University, for his very high appreciation of my work and writing out a short introduction to my ‘Hindu Canons of Painting’, forming an integral part of this complete volume as published separately.

v2.c72.28

In the end I take this opportunity to express my heart-felt thankfulness to Prof. Kali Prasad (Dean, Faculty of Arts, Lucknow University), the Hon. Librarian of Lucknow University Tagore Library and his assistants for a very generous accord of Library facilities without which the completion on of this work on my going over to Gorakhpur University could not have been possible.

v2.c72.29

Buddha-pūrṇimā, 2015 vik (May 1958). D. N. Shukla

Acknowledgment

v2.c73.1

This work Vāstuśāstra Vols. I & II (II being published first) being an extended study of my Ph. D. Thesis—“A study of Bhoja’s Samarāṅgaṇa-Sūtradhāra Vāstuśāstra, a treatise on the science of architecture, sculpture and painting”—is Lucknow University ‘Approved Research Work for the publication of which (being singled out as a work of outstanding merit) the University Grants Commission has given a grant of Rs. 6,000/-, which the author most gratefully acknowledge.

v2.c73.2

In this connection the Uttara Pradesh Rajya must also be remembred for its subsidies enabling the author to contribute more than four volumes in Hindi in his projected plan of 10 to 14 volumes on this branch of Indology.

v2.c73.3

| Chapter | Subject | Pages |
| | **Introductory** | |
| | **Foundation of Hindu Iconography—the Institution of warship** | 23–42 |
| Introductory | | 24 |
| I | Worship and its antiquity | 25–29 |
| II | Image-worship—its development, i. e. | |
| | The Pañcāyatana, sectarian cults like Vaiṣṇavism, Śaivism, etc. and forms and modes of worship | 30–38 |
| III | Bearing of Devapūjā on Art and Iconography | 39–42 |
| | **Part I Canons of Iconography** | |
| Introductory | Part I and its subject-matter and the method etc. | 45–48 |
| I | Study of Hindu Iconography—the sources: | 49–75 |
| | A. Literary sources like Purāṇas Āgamas, Tantras and Śilpa-śastras | 50–71 |
| | B. Sculptural sources | 71–75 |
| II | Classification of Images in general on different bases | 76–80 |
| III | Icono-planning and Iconometry in relation to a perfect iconography | 81–93 |
| | (*i*) Icono-planning | 81–83 |
| | (*ii*) Iconometry | 83–92 |
| | (*iii*) The merits and demerits of the images | 92–93 |
| IV | Iconoplastic Art | 94–116 |
| | Different classifications of materials | 94–99 |
| | (*i*) The Clay | 99–101 |
| | (*ii*) The Wood | 101–103 |
| | (*iii*) The Stone | 103–108 |
| | (*iv*) The Metals | 108–112 |
| | (*v*) Precious stones and Ivory | 112–113 |
| | (*vi*) Mixed substances and other substances | 113–115 |
| | (*vii*) Factors developing this art | 115–16 |
| V | Mudrās—Poses and Postures | 117–132 |
| | Doctrine of Mudras reoriented | 117–119 |
| | Classification into three broad divisions and their significance and role in iconography | 119–122 |
| I | **Hasta-Mudrās** | |
| | (*i*) 24 Asaṁyuta Hastas | 120 |

v2.c73.4

(ii) the 12 Samyuta-Hastas (iii) the 21 Nṛtta-Hastas 120-21

v2.c73.5

Representation in art:

v2.c73.6

Abhaya, Varada, Dhyāna-yoga, Samādhi, Jñāna, Cin, Dharamacakra, Kaṭyavalambita or Kaṭisam-hasta, Kaṭaka or Simha-karṇa, Daṇḍa or Gaja-hasta, Sūci, Tarjanī etc. and Vismaya, Kāyotsarga and Bhūsparśa 122-27

v2.c73.7

II Poses of the Body—nine attitudes 127-30

v2.c73.8

III Postures of the legs—Vaiṣṇavam, Samapādam, Vaiśākham, Maṇḍalam, Ālīdham, Pratyālīdham along with Ābhaṅga, Tribhaṅga and Atibhaṅga 130-32

v2.c73.9

IV Mudrās (continued) 133-54

v2.c73.10

Reoriented doctrine of Mudrās taking objects, seats, Drapery, and Decorations etc. also as Mudrās 133-34

v2.c73.11

I. Objects—weapons and implements 134-42

v2.c73.12

A. (*i*) Weapons—25 āyudhas tabulated; 36 āyudhas of the Aparājita-pracchā 135-41

v2.c73.13

(*ii*) Implements and other symbols—enumeration and association 141-42

v2.c73.14

B. Musical instruments (as improvised weapons) 142

v2.c73.15

II. Seats (*i*) Āsana 143-44 & (*ii*) Vāhana 144-45

v2.c73.16

III. Ābhūṣaṇa—Drapery and Decorations 145-54

v2.c73.17

A. Costumes—Drapery 146-149

v2.c73.18

B. Ornaments of various limbs; ṣoḍaśābhūṣaṇas of the Aparājita-pracchā 149-51 151

v2.c73.19

C. Headgear *i. e.* Mauli (Mānasāra) 151-54

v2.c73.20

The ideology under-lying these mudrās 154

v2.c73.21

VII Iconographical astheticism and the Installation of the images—Prāsāda and Pratimā 155-65

v2.c73.22

A. Iconographical alstheticism 155-157

v2.c73.23

B. Installation (*i*) Ritualistic: its different varieties, Punah-pratiṣṭhā and Jīrṇoddhāra etc. 157-58 158-64

v2.c73.24

(*ii*) Architectural—sculptural and iconometrical 164-65

v2.c73.25

Appendix A 166-68

v2.c73.26

Part II—Exposition of Pratimā-lakṣaṇas .

v2.c73.27

Introductory 170-71

v2.c73.28

Appendix to page 24, Pt. II, Ch. VIII—D. Buddhas 172

v2.c73.29

I. Trimūrti etc. Brāhma-pratimā-lakṣaṇa 173-88

v2.c73.30

| Trimūrti | 172-76 | Caturmūrti | 176 |
| Pañca-mūrti | 176-77 | Dvimūrtis | 177-79 |

v2.c73.31

Brahmā 179-88

v2.c73.32

(*i*) Historical resume—Vedic etc. 180-81

v2.c73.33

(*ii*) Iconographical accounts 181-84

v2.c73.34

(*iii*) Iconological implications 184-85

v2.c73.35

| (*iv*) Illustrations (*a*) Independent images 185 (*b*) Reliefs 186 | | |
| (*v*) Brahmā's shrine and parivāra-devatās | | 186–88 |
| Vaiṣṇava-pratimā-lakṣaṇa | | 189–231 |
| Introduction 189–90 | History : | |
| Vedic 190–91 ; Epic and Purāṇic 191–93; Pañcarātric | 193–95 |
| Pratimā-lakṣaṇas—seven-fold icons | | 195 |
| 1. The ordinary Viṣṇu-images | | 195–97 |
| 2. Extraordinary forms of Viṣṇu | | 197–206 |
| Anantaśayī 197–99 | Vāsudevas D. & M. | 199–203 |
| Trailokya-mohana 203 | Viśvarūps | 203–4 |
| Vaikuṇṭha 204–5 | Ananta | 205 |
| Yogeśvara 205 | Lakṣmīnārāyaṇa | 205–6 |
| 3. Dhruva Beras | | 206–11 |
| Introduction 206–8 | 6. Bhogāsana | 210 |
| (*a*) *Standing attitude* 208–9 | 7. Vīrāsana | ” |
| 1. Yagasthānaka 208 | 8. Abhicārikāsana | ” |
| 2. Bhogasthānaka 208–9 | (*c*) *Reclining attitude* | 210–11 |
| 3. Vīrasthānaka 209 | 9. Yogaśayana | 210 |
| 4. Abhicārikasthānaka „ | 10. Bhogaśayana | 211 |
| (*b*) *Sitting attitude* 209–10 | 11. Vīraśayana | ” |
| 5. Yogāsana 209 | 12. Abhicārikaśayana | ” |
| 4. Daśāvatāras—The Ten Incarnations | | 211–21 |
| Introduction & | | |
| Defferent lists of Avatāras | | 212–14 |
| 1. Matsya 214 | 4. Narasimha | 216 |
| 2. Kūrma 215 | (*i*) Girija | 216 |
| 3. Varāha ” | (*ii*) Sthāṇu | 216–17 |
| (*i*) Nṛvarāha 215–16 | (*iii*) Yānaka | 217 |
| (*ii*) Yajña and (*iii*) Pralaya 216 | (*iv*) Lakṣmī-Narasimha | 217 |
| 5. Vāmana and Trivikrama | | 217–18 |
| 6–8. Three Rāmas | (*i*) Paraśurāma | 218 |
| | (*ii*) Rāghava | 219 |
| | (*iii*) Balarāma | 219 |
| 9. Kṛṣṇa 219–20 | 10. Buddha (See Buddhist Iconography) | |
| 11. Kalkim | | 220–21 |
| 5. Caturviṁśati-mūrtayah | | 221–23 |
| Introductory | | 221 |
| The twenty four Mūrtis tabulated and commented | | 222–23 |
| 6. Minor Forms of Viṣṇu | | 223–27 |
| Rao's classification and comment on it | | 223–24 |

v2.c73.36

| Puruṣa | 224 | Vyāsa | 224 | Hayagrīva | 224-25 |
| Kapila | ” | Dhanvantari | ” | Dharma | 225 |
| Yajña-mūrti | ” | Dattātreya | ” | Varadarāja etc. | ” |

v2.c73.37

Garuda—art-motif and iconographical description and illustrations thereof 226-27

v2.c73.38

7. Āyudhapurusas 227-29

v2.c73.39

Introduction 228 Sculptural forms, the underlying theology of the ten Āyudhas 228-29 Vaiṣṇavī Dvārāvatī 229-30 Vaiṣṇava-vividha-pratimā-pūjana-phalam 230 Vaiṣṇava-lāñchana-rahasyam 230-31 Viṣṇu-shrine (the Āyatana) 231 Viṣṇu's eight Pratīthāras 231

v2.c73.40

III. Śaiva-pratimā-lakṣaṇa 232-86

v2.c73.41

General introduction 232-33 Śaivism—its schools, the sects, etc. 233-37 (*i*) Āgamānta school 234 (*ii*) The Pāśupata and other schools 234-35 (*iii*) The Aghora or the milder forms of Śaivism—the Kasmir and the Liṅgāyata 235-37 History of Śiva 237-39 Pre-Vedic—Śiva-Paśupati 237 Vedic—Rudra-Śiva 237-38 Epic and Paurāṇic 238-39 Liṅga-worship 239 Two broad divisions of Śaiva icons—Liṅgas and Rūpas

v2.c73.42

*Liṅgas* 240-48 Its meaning 240 Its divisions and sub-divions—niṣkala, sakala and miśra 240 Niṣkala—Shāvara and Jaṅgama 240 *Cala-linga*—six-fold classification according to substances, they are made of 240-41 *Acala Liṅgas*—the different varieties 241

v2.c73.43

| The Svāyambhuva lingas | 241-42 | The Gāṇapa | 242 |
| The Daivika | 242 | The Ārṣa | ” |

v2.c73.44

The Mānasāra's classification of liṅgas 242-43 The Samarāṅgaṇa's treatment of the Liṅgas 243-44

v2.c73.45

*The Mānuṣa liṅgas*

v2.c73.46

| 1. | Aṣṭottaraśata-liṅga | 245 | 3. | Dhārā-Liṅga | 245 |
| 2. | Sahasra-Liṅga | 245 | 4. | Mukha-liṅga | 245 |

v2.c73.47

The different criteria of the classification of Mānuṣa-lingas Sarvadeśika 246 Sarvasama 246 Vardhamāna 246 Śaivādhika, etc. 246 *Bāṇa-Liṅgas* 246–47 Liṅga-pīṭhas and kinds of Pīṭhas and Pīṭhanāla 247–48 *Rūpas—anthropomorphic forms* 248–282 Introduction and the treatment of the Samarāṅgaṇa 248–49 The different categories of Śaiva Icons 250 I. Śānta, II. Ugra & III. Miscellaneous—the 18 forms ” The 18 liṅgodbhava rūpas 250–51

v2.c73.48

I **Śāntas:**
1. **Sādhāraṇī Mūrti** 251–52
2. **Asādhāraṇīs** 252–54 Sadāśiva 252–53 Mahāsadāśiva 253 Dvādaśakalā-sampūrṇa Sadāśiva ” Pāśupata and Rudra-Pāśupata 253–54
3. **Saumya and Śānta Mūrtis** 254–58 Ardhanārīśvara 254–55 Gaṅgādhara 255–56 Kalyāṇa-Sundara 256–57 Vṛṣavāhana 257 Candraśekhara 257 Sukhāsana, etc. 257–58
4. **Anugraha murtis** 258–60 (*i*) Viṣṇvanugraha 258 (*ii*) Nandīśānugraha 258 (*iii*) Vighneśvarānugraha 259 (*iv*) Arjunānugraha 259 (*v*) Caṇḍeśānugraha ” (*vi*) Rāvaṇānugraha 259–60
5. **Nṛtta Mūrtis** 260–63 Introduction to 108 modes of Śiva’s Dance and its significance in the words of Dr. A. K. Coomaraswamy 260–62 Nine Nṛtta Mūrties, Description and illustrations 262–63 Other modes and their representations 263
6. **Dakṣiṇāmūrtis** 263–66 **Introduction** 263–64 (*i*) **Vyākhyāna-dakṣiṇāmūrti** 264 (*ii*) **Jñāna-dakṣiṇā-mūrti** 264–65 (*iii*) **Yoga-dak iṇāmūrti** 265–66 **Vīṇādhara-dakṣiṇā-mūrti** 266

v2.c73.49

II. **Aśānta or Ugra Mūrtis** 266–278 **Kāmāntaka** 266–67 **Gajāsurasaṁhāra** 267–68 **Kālāri-mūrti** 268–69 Tripurāntak and its 8 aspects 269–72 Śarabheśa 272–73 Brahma-śiraśchetṛ-mūrti 273 Bhairava, Svacchanda Bhairava and 64 Bhairavas 274–76 other aspects of Saṁhāra—Vīrabhadra, Jālandhara, Mallāri Śiva, Aghora and Mahākāla etc. 276-78

v2.c73.50

Kaṅkāla and Bhikṣāṭana Mūrtis 278-79

v2.c73.51

III. *Miscellaneous aspects

v2.c73.52

Ekādāśa Rudras 279-80 Vidyeśvaras 280 Mūrtyaṣṭakam 280-81 Iśānādayah Pañca-Mūrtis 281 Maheśa or Mahādeva 281-82 Śivagaṇas Nandī 282-83 Kṣetrapāla 284 Caṇḍeśa 283-84 Ārya etc. 284-85 Secrecy of the Śaiva-emblems 285-86 Śivāyatanam 286 The aṣṭa-pratihāras ”

v2.c73.53

V. Gāṇapatya-Pratimā-lakṣaṇa 287-300

v2.c73.54

Gaṇeśa 287-292 History 287-89 Rise of the Sect and its popularity 289 Iconography and Icons (16 varieties) 289-291 Illustrations (early and early and late medievals) 291-92 Secret and sacred meaning of Gaṇeśa's attributes 292-93 Senāpati Kārtikeya (Skanda) 293-300 Introduction 293

v2.c73.55

Early evidence of Skanda's evolutionary iconographical, archaeological and literary traits 293-95

v2.c73.56

Iconographical accounts of the three main aspects and the associated meaning of other forms 295-96

v2.c73.57

1. Kārtikeya 296-97.

v2.c73.58

Kumāra and Kārtikeya 297 Symbolic significance .297

v2.c73.59

2. Skanda 297-98

v2.c73.60

3. Subrahmaṇya—his other 10 aspects 298-99

v2.c73.61

Subrahmaṇya's Shrine, his Parivāradevatās and Dvārapālakas 300

v2.c73.62

VI. Devī-Pratimā-lakṣaṇa (Śāktism) 301-324

v2.c73.63

Introduction 301 Śāktism—as Yāntricism, Tāntricism and Advaitism 301-303 Its history—pre-historic and historical 303-304 Devī-cult: (*i*) Vedic and (*ii*) post-Vedic—Epic, Paurāṇic and Philosophic 304-305 Devī-Pratimā-lakṣaṇam--the Devi Icons 305-6

v2.c73.64

The three main aspects 305–6 *Sarasvatī* 306–308 Her Tāntric ritualistic association in the Aparājita-prachhā 306 Her early accounts—Vedic, etc. 306–7 Her iconography and illustrations 307–8 *Lakṣmī* 308–13 Introduction to her different aspects 308 Numerousness of archaeological (Numismatic and Glyptic) data providing for her historical evolution 308–9 Literary data—Vedic and post-Vedic, and coordination between representations and literary descriptions 309–310 Iconographical accounts and illustrations thereof of (i) Mahālakṣmī, (ii) Lakṣmī, and (iii) Śrī or Gaja-lakṣmī 310–313 Bhūdevi and other Vaiṣṇavī Devīs 313 *Durgā* Introduction to her main aspects 313–14 Mahākālī 314–15 Kālī and Bhadrakālī 315 Durgā 315–16 Nava-Durgās 316–17 (Āgamic, Paurāṇic and Āparājitic tabulation & Nava-durgā iconology and its iconographical representa-tions) 316–17 . Mahiṣāsura-mardinī and Kātyāyanī—iconography & illustrations 317–18 Kauśikī—Samarāṅgaṇa's contribution 318–19 Caṇḍikā and her aspects and her aṣṭa-pratihāras 319 Gauri—manifold aspects 319–20 *(i)* Dvādaśa-mūrtis 320–21 *(ii)* Pañca-lalitā-mūrtis 321 Gauri-shrine and her aṣṭa-dvārapālikās 321 Other Śaivi aspects of Devi—a commentary 321–22 Mātṛkās—sapta or aṣṭa 322–23 Jyeṣṭhā 323–24 Śaivi Devis (tabulated) 324 VI. Saura-Pratimā-lakṣaṇa—Sūrya, Ādityas, Navagrahas, Dikpālas and Aśvins 325–41 Sūrya and Ādityas—introductory 325 History—Vedic 325–26 Saurism of the post-Vedic age 326–27 Foreign influence on the Sun-worship in India 327–28 Ḏvādaśādityās 328–29

v2.c73.65

Navagrahas 329-30 Sūrya-pratimā-Lakṣaṇa 330-331
(i) Northern tradition 330-331
(ii) Southern tradition 331 Illustrations (general) 331-33 5 types (earlier, early and medieveal, " Southern and Northern types compared 333 Dvadaśādityas illustrated 333-34 Revanta 334 Naragraha-illustrations " Iconogy behind the Sun and Navagraha images 334-35 (Surya and Viṣṇu compared) " Saura-āyatana—the sun-shrine 335 Saura-pratihāras 335-36 Dikpālas—introductory 336 History—Vedic, Buddhist and Jain 336-37 Dikpālas tabulated 337 Indra 337-38 Agni 338-39 Yama 339 Nirṛti 339-40 Varuṇa 340 Vāyu " Kubera 340-41 The Aśvins 341 VII Other miscellaneous images—Yakṣa-Vidyādhara-Vasu-Marudgaṇa-Pitṛgaṇa—Munigaṇa (Ṛṣis) and Bhaktas etc. 342-55 The demi-gods and demons—tabulation and the S. S.'s contribution 342-43 Yakṣas 343-45 Vidyādharas, Gandharvas and Apsarasas 345-47 Gandharvas and Kinnaras re-interpreted—vide the Mānasāra text " Nāgas (i) History 347-49
(ii) Iconography 349-50 Vasus—the eight Vasus 350-51 Asuras 351 Piśācas, Vetālas and Bhūtas " Marudgaṇas 351-52; Sādhyās 352 Pitṛs 352-53; Ṛṣis and Munis 353-55 Bhaktas 355 Some observations on the concretised concepts, like Artha, Kāma, Diśās, Jvara, Vedas, Śāstras, Dharma, Jñāna, Valrāgya, Vyoman and Aiduka 355 *N. B.*—The paging of the VIII Chapter is afresh as it was a later addition. *N. B.* Sections I & B. may be taken as B. & C.

v2.c73.66

Jain and Buddhist Iconography 1-38

v2.c73.67

Section B. Jain Images 1-14

v2.c73.68

Foundation of Jain Iconography 1--2

v2.c73.69

Antiquity of image-worship among the Jainas 2-3

v2.c73.70

The Arcā of the Jains 3

v2.c73.71

The Arcyas of the Jains—the gods and goddesses, two classifications 4-5

v2.c73.72

Origin of Jain images 5-6

v2.c73.73

Places of Jain pilgrimage 6-7

v2.c73.74

1. Tīrthankaras 7-8

v2.c73.75

Characteristics of Jain images 8-9

v2.c73.76

Jina-iconography 9-10

v2.c73.77

24 Tīrthankaras with their lānchanas etc. (tabulation) 10

v2.c73.78

Evolution of the Jina-icons 11

v2.c73.79

Jain Quadruple 12

v2.c73.80

2. Yakṣas and Yakṣiṇīs (tabulated with vāhanas) 12-13

v2.c73.81

3. The 16 Śruta-devis or Vidyā-devis 13-14

v2.c73.82

4. Dikpālas 14

v2.c73.83

5. Other miscellaneous images 14
(i) Harinegmeśa (ii) Kṣetrapāla 14
(iii) Gaṇeśa, Lakṣmī, Sāntidevi and 64 Yoginīs 14 Illustrations 14

v2.c73.84

Section C. Buddhist Iconography 15-38

v2.c73.85

Religious and philosophical background 15-18

v2.c73.86

Buddhist Pantheon—rise and development 18-20

v2.c73.87

Buddha images in general—introduction 20-21

v2.c73.88

Paurāṇic accounts 21

v2.c73.89

Iconographical 21-23

v2.c73.90

Vajrayāna Buddhist Images 23-34

v2.c73.91

14 categories 23

v2.c73.92

1. (*a*) (*i*) Dhyānī (Divine) Buddhas 23-24 (*ii*) Divine Buddha-Śaktis 24 (*iii*) Divine Bodhi-sattvas 24-25 (*b*) Mortal Buddhas 25-26 (*c*) Maitreya, the Future Buddha 26

v2.c73.93

2. Mañjuśrī and his 14 forms 26-27

v2.c73.94

3. Avalokiteśvara and 15 principal forms 27-28

v2.c73.95

4. Emanations of Amitābha 28-29

v2.c73.96

5. Emanations of Akṣobhya 29-30 6. Emanations of Vairocana 30
7. Emanations Amoghasiddhi 30
8. Emanations of Ratnasambhava 30-31
9. Emanations of the Five Dhyānī Buddhas 31-32
10. Emanations of the Four D. Buddhas 32
11. Emanations Vajrasattva 32
12. Pañcarakṣā-maṇḍala 32
13. Tārās 32
14. Independent deites (i) Gods and (ii) Goddesses 33-34 Secret Iconology—Vajrayāna-view of the Vajrayāna-Buddhist Images 34-35 A peep into the Buddhist Art 35-37 Stūpas 35 Triśaraṇas 36 Gandhāra Art 36 The Mathurā school of Sculpture 36 Famous monasteries—Odantapuri, Nalanda & Vikrama-śīlā 36-37 Cave temples, Ajanta, Ellora etc. 37 Bengal school of Sculpture 37 Nepal and Tibet 37 Illustration—centre-wise 37-38 Appendix A—Pt. I p. 86 & 92—continued 356-8

v2.c73.97

CANONS OF PAINTING

v2.c73.98

With an outline history of Indian Painting, Archaeological and Literary 359-500

v2.c73.99

(N. B.—"Contents" on page 361 may be deemed redundant—they apply to the first edition of the 3rd part separately published under "Hindu Canons of Painting")

v2.c73.100

Introductory 362-64

v2.c73.101

I. The Principal Texts on the canons of painting—the Citraśāstra 365-76 The five principal and four subsidiary texts besides other references 365-66

v2.c73.102

1. Viṣṇudharmottara 366-68
2. Samarāṅgaṇa-sūtradhāra 368-70
3. Aparājita-pracchā 370-71
4. Abhilaṣitrātha-cintāmaṇi or Mānasollāsa 371-72
6. Śilpa-ratna 373-74 N. B.—Subsidiaries being—Citralakṣaṇa of Nagnajit, Śivatattva-ratnākara, Sārasvata-citra-karmā-śāstra and Nārada-śilpa 374-76

v2.c73.103

II. Painting, its aim, origin and scope 377-84 General introduction 377-78 Its aim 378-80 Origin 380-83 Scope 383-84

v2.c73.104

Elements 385 Constituents 385 Types: 385–89 Various classifications:—
(i) Satya 385 (i) Viddha 386 (i) Rasacitra 387
(ii) Vaiṇika 385–86 (ii) Aviddha ,, (ii) Dhūlīcitra ,,
(iii) Nāgara 386 (iii) Bhāva 387 (iii) Citra ,,
(iv) Miśra ,, (iv) Rasa ,,
(v) Dhūlī ,, Dr. Raghavan’s observations 387–89

v2.c73.105

IV The Vartikā and the Canvas 390–96 Vartikā 390–91 Different Backgrounds.— Kudya-bhūmibandhana, paṭṭa-bhūmibandhana and Paṭa-bhūmibandhana 391–92
1. The Mural backgrounds 392–94
2. The Board Canvas 394
3. The Cloth Canvas 394–95 Abb. C.’s technique on the topic 395–96

v2.c73.106

V The Aṇḍaka-measurements and Proportionate measurements -397–406 Introduction 397 The S. S.’s prescriptions A. Aṇḍaka-Pramāṇa 398–99 B. Kāya-Pramāṇa 399 C. Different forms i. e. Rūpas 399–400 The V.D.’s prescriptions 400–403 The Mānasollāsa’s Pictorial Iconometry 403–406

v2.c73.107

VI Plasters and Ointments 407–410 Introduction 407–8 The Brick plaster and Clay plaster 408–9 Ointment—Mṛttikābandhana & Sudhābandhana 409–10

v2.c73.108

VII Colours and Brushes, shades and other delineations 411–420 Colours 411–18 Primary colours 412 Secondary colours 412–14 Colour substances:
(i) Sudhā (ii) Sindūra, (iii) Hiṅgula (iv) Nīla (v) Haritāla 414–15 Use of gold and other metals (Patra-vinyāsa and Rasakriyā) 415–18 Brushes The five types 418–19 Vartanā, the delineations 419–20

v2.c73.109

VIII. How to paint—Conventions in Painting 421–29 N. B. See the chapter for details—they are too numerous.

v2.c73.110

IX Painting and Aesthetics 430–37 Introductory 430 A. Eleven Rasas 431–32 B. Eighteen Rasadṛṣṭis 432 Commentary 332–33 The art of painting is based on the art of Nāṭya—the V. D. 433–34 Aspects of Poetry in terms of pictures—Dr. Raghavan 434–36 The application of Rasa-theory to Citra (Ibid) 437 The application of Dhvani theory to Citra (Ibid) ,,

v2.c73.111

X Styles of painting in relation to Colours, Patras and Kaṇṭakas 438–42

v2.c73.112

| | Patras | | | 438-40 |
| | Kaṇṭakas | | | 440-41 |
| | Styles | | | 441-42 |
| XI | Painting & Painter | | | 443-47 |
| | Characteristics of Indian painting with a critical and comparative estimation with the Western Canons | | | 442-45 |
| | Painter—his qualifications | | | 445 |
| | Painters of India | | | 446-47 |
| | (Here end the Canons, we now go to their representation in the monuments) | | | |
| XII | An outline History of Indian Painting | | | 448-92 |
| | Introductory | | | 448-50 |
| | *Section A.* Archaeological evidence of early records of Painting in India | | | 448-74 |
| A. | Pre-Christian (1) Prehistoric | | | 450-451 |
| | (2) Historic | | | 451 |
| B. | Post-Christian—Introduction to Buddhist, Hindu, and Mohammedan | | | 451-53 |
| | The Buddhist period—Ajanta, Sigiriya, & Bagh paintings | | | 453-66 |
| | Ajanta | | | |
| | (i) Situation 454 | Cave | IX | 456-57 |
| | (ii) Groups and Pds. 454-55 | " | X | 457 |
| | (iii) Themes 455 | " | XI | " |
| | Cave I " | " | XVI | " |
| | Cave II 455-56 | " | XVII | 457-59 |
| | Cave VI 456 | " | XXI | 459 |
| | Cave VII " | " | XXII | " |
| | (iv) Patronage | | | 459-60 |
| | (v) Materials & Technique | | | 460-62 |
| | Adherance to the Art Canons and a general estimation | | | 462-65 |
| | Sigiriya | | | 465 |
| | Bagh | | | 465-66 |
| | Hindu Period | | | 466-71 |
| | Introduction | | | 466-67 |
| | Rajput Paintings | | | 467-69 |
| | Character & Characteristics of Rajput Paintings | | | 469-71 |
| | Mughal Paintings | | | 471-73 |
| | Introductory | | | 471 |
| | Mughal Miniatures | | | 471-72 |
| | Portraiture under the Mughals | | | 472-73 |
| | Modern Schools | | | 473-74 |
| | *Section B.* Literary evidence of Early Indian Painting | | | 474-92 |
| | (i) Vedic literature | | | 475 |
| | (ii) Pali Buddhist Canonical literature | | | 475 |
| | (iii) Epics (iv) Purāṇas and (v) Silpaśāstras | | | 475-76 |
| | Kāvyas | | | 476-92 |
| | *Kālidasa* | | | 476-81 |
| | (i) Citra-śālas; (ii) Citrācāryas | | | 477 |
| | (iii) Portrait pictures (iv) Backgrounds | | | 477-78 |
| | (v) Process (vi) Materials (vii) Colours | | | 478-80 |
| | (viii) Bodily poses and postures of legs | | | 480-81 |
| | *Bāṇa-bhaṭṭa* | | | 481-87 |
| | Introductory | | | 481-82 |
| | Types of Pictures | | | 482-83 |
| | Backgrounds | | | 483 |
| | Materials | | | 483 |

v2.c73.113

| Methods of painting on various surfaces | 483-85 |
| Colours--primary and their varieties | 485-86 |
| Varieties of mixed colours | 486-87 |
| Srīharṣa | 487-90 |
| Letter-painting | 487 |
| Types of Pictures | 487-88 |
| Process and colours | 488 |
| Anatomy-face, nose, chin, ear, eyes, neck, hair nitamba, gulfa, heel, fingers, etc., etc. | 488-90 |
| other poets—Bhavabhūti, Harṣadeva, Daṇḍī, Māgha, Rājaśekhara, Dhanapāla, Someśvarasūri etc. | 490-92 |
| Book Illustrations | 492 |
| Appendix A Quotations from Kāvyas | 1-8 |

v2.c73.114

Pratimā lakṣaṇa & Citra-lakṣaṇa

v2.c73.115

| (i) Pratima-Vijñāne | 1-67 |
| (ii) Pratimā-Lakṣaṇe | 68-293 |
| (iii) Citra-lakṣaṇe | 294-332 |

v2.c73.116

N. B. The detailed contents in Sanskrit may be seen on pages 1-8 of the Pratimā-lakṣaṇa.

v2.c73.117

OMISSION

v2.c73.118

The author craves the patience of his readers for the III Volume completing this survey of this subject in English which will be entirely devoted to the illustrations of not only the images and paintings but also to those pertaining to the subject-matter of the Volum I Hindu Canons of Architecture (Science of Engineering, Town-planning, Building-houses—residential ones, royal palaces and the abodes of gods, the temples etc.). Hence this omission may be forgiven. Index may be deemed compensated with the exhaustive contents.

v2.c73.119

Pulishers

v2.c73.120

**Vāstu-Vāṅmaya-Prakāśana-śālā**
Shukla-Kuti Faizabad Road, Lucknow.

v2.c73.121

Other Publications of the author

v2.c73.122

1. Hindu Canons of Iconography with an anthology of Pratimā-lakṣaṇa | Rs. 27—0—0
2. Hindu Canons cf Iconography without the anthology of Pratimā lakṣṇna | Rs. 18—0—0
3. Hindu Canons of Painting with an outline history of Indian Painting, archaeological and literary. | Rs. 9—0—0
४. भारतीय वास्तु-शास्त्र—वास्तु-विद्या एवं पुर-निवेश | मूल्य ८॥)
५. हिन्दू प्रसाद की चतुर्मुखी पृष्ठ-भूमि | ,, ३)
६. प्रतिमा-विज्ञान | ,, १५)
७. प्रतिमा-लक्षण | ,, १२)
८. चित्र-लक्षण | ,, २)

v2.c73.123

**Printers (1) Prem Printing, Press Lucknow** **(2) Shukla Printing, Press Lucknow**

v2.c73.124

*N. B.* Nos. 1–3 are seprate editions of this work to suit the students of Archaeology and Iconography also.

v2.c73.125

FOUNDATIONS OF ICONOGRAPY

v2.c73.126

(The Institution of Worship)

v2.c73.127

It has already been remarked that any study of Iconography in India must say something about the purpose of Iconography. We know that the vast varieties of icons as found in the different parts of this land of ours were the objects of worship, hence something about worship, its antiquity, origin and development together with the different forms and different modes has to be dealt with in order to form a complete picture. Again we know that this institution of worship had undergone different transformations with the predominence of the different cults in India. In those days of Vedas and Vedāṅgs in the sacrificial cult, the worship centred round the sacrificial altar and it had become such a mighty institution that the gods, to whom the offerings were made, were made subordinate to the Yajña—the supreme power in the hands of the Aryans of those days. Yajña, itself became the supreme deity—Yajña-Nārāyaṇa. Later on, in the days of the Upaniṣads and Āraṇyakas, the centre of a ttention from an external deity shifted to the internal Ātman—a manifestation of the all-pervading Paramātman, the Supreme Soul.

v2.c73.128

Again with the rise of Buddhism and Jainism, the heterodox religious movements in India, antagonistic to this sacrificial cult, made a propound change in the minds of people and they propagated a new way of religion, a new gospel of God and godliness. To undo what the Buddhism had done, the rise of a Brahmanic religion—a neo-religious movement in the shape of Paurāṇic dharma, so powerful and so vigorous that the erection of temples and the installations of the deities in them found the greatest impetus. It is here that the image-making art found a natural atmosphere for development.

v2.c73.129

Naturally, therefore, a bird's eye-view on the different religious systems advocating the different modes of worship in their different cults is a necessity for a fuller presentation of the subject-matter in hand. This is only a bare indication of the Pūrva-Pīṭhikā of the Pratimā-vijñāna (the Hindi work) duly incorporated here in this work as well—cf. Pts. Introductory and II of this study. It is the foundation stone on which the edifice of icons is to be built.

First 169 of 4,314 passages. Read on

Linked texts (50)