Vastu-shastra (Vol. I: Hindu Science of Architecture; Vol. II: Hindu Canons of Iconography and Painting) v2.c74.s2.57

v2.c74.s2.57

This preliminary procedure is a step towards the planning of an image-maker and the image both. To carve out or mould or shape or paint the image of a deity, requires a perfect ‘Yoga’ (the ‘citta-vṛtti-nirodha) and this yoga can be attained only under a proper discipline of body and mind—the regulations both in the mode of living and ways of doing. Only under a proper concentration, an artist can conceive an image. Conception follows conceptulation. Both these cnoception and conceptulation have a meaning, a purpose. This is the transformation of the Divine, the Absolute, the Nirguṇa God into a concrete god—Saguṇa. We know that the sculptural productions of the Indian artists had a deeper meaning. The Indian images used to be wrought and fashioned for the purpose of worship. Brindāvana has very aptly said: ‘And in order that the worshipper might, without much effort, meditate upon them, might think that his dearest, his saviour, his object of reverence has come before his eyes, might forget his own individual identity and identify his own self with the image of god, the artists of India have tried their fullest to render the image as impressive and imposing as could be possible in a sculptural art. They believed with the devotee that ‘God comes near the worshipper if the images were made fine.’