Vastu-shastra (Vol. I: Hindu Science of Architecture; Vol. II: Hindu Canons of Iconography and Painting) v2.c76.192

v2.c76.192

Before proceeding with these different canvases of the different types of paintings, something about the technique of the Bhūmibandhana, in general may be said. It has been pointed out many times that this portion of the text being horribly corrupt in some places, it is difficult to give an authentic presentation. Nevertheless an attempt is made to interpret the true import of this technique. The text says (72. 3.) that on some auspicious day with auspicious constellations all the three members of this sacred task of painting, namely the painter (Kartā), the patron (Bhartā) and the master the Śikṣaka, the Āchārya Guru, should first observe fast and then offer worship to the Vartikā, already prepared for the task of preparing the background. A particular kind of seeds like those of the Brīhi should be ground into a levigated powder. It should be then moulded into a ball (piṇḍa) and got dried up in the sun and then it should be rubbed for full seven days all round after it has been boiled up with water to get it freed from husks, etc. This is one process of the technique which is called Kharabandhana as oppossed to soft one, the former. The peculiarity of this latter process is that the powder so obtained should be used in plastering the Vartikā by the brush made of hair (Romakūrca). This general backgrouhd is also called Śikṣikābhūmi, the background for apprenticeship.