Vastu-shastra (Vol. I: Hindu Science of Architecture; Vol. II: Hindu Canons of Iconography and Painting) v2.c76.97

v2.c76.97

It then takes up the scope of the painting in which all the animate and inanimate figure. Then follows the types of painting and incidently hints at the non-scope of painting, what is termed by it, as ‘Citrā- bhāsa’. Afterwards are dealt with the backgrounds—the Citrabhitti (vs. 15-23)—and its preparation. Then is given the technique of the colours and colouring as well as the most popular and appealing objects of painting (26-39). It further takes up the Citra-lekhanavidhi and incidentally dwells at length on the brushes, etc. (the three-fold lekhanī) as well as the traditional ṛjvāgata, etc., nine poses along with proportions of measurements of all limbs and sub-limbs. The verses 111-142 are a beautiful and a very reasoned account of the colours, their varieties, compounds and mixtures, etc. together with the use of gold in them and the technique of its application. In the end (143-147½) are given the three famous types of painting—the Rasacitra, the Dhūlicitra and Citra (proper).