Vastu-shastra (Vol. I: Hindu Science of Architecture; Vol. II: Hindu Canons of Iconography and Painting) v2.c75.44

v2.c75.44

Regarding the latter, *i. e.* introduction of new elements, a peep into the very first chapter will convince my readers that some of the most intimate subjects of dessertation in any study of Hindu Iconography, so far remained insignificant, have been given their due. Symbolism in India has been its life breath. Symbolism, therefore, in Indian art is its soul. Accordingly all the principal deities have been treated from this angle also in the last—the secret and sacred significance of the icons and their manifold rūpas, etc. what is termed here as ‘lāñchana-rahasyam’ which is an invariable concomittance in practically all the eight chapters. Similarly a principal image must have his shrine—the āyatana, and his parivāra-devatās. This too is an essential theme invariably adhered to in the treatment of all the principal deities. Needless to multiply other so many new introductions based on an intimate study of the new sources like the Samarāṅgaṇa and the Aparājita-pracchā and the reorientation of the older texts like the Mānasāra.