Vastu-shastra (Vol. I: Hindu Science of Architecture; Vol. II: Hindu Canons of Iconography and Painting) v2.c77.262

v2.c77.262

The origin of painting as related in the texts like the V. D. and the A. P. simply symbolise the truth hinted above. The employment of Rasas and Rasa-dṛṣṭis, the symbolic representation of the different poses and the execution of the dramatic motions, etc., etc., all these elements in painting also point out the same fundamental truth. Accordingly painting can not only inspire us for nobler ways of living but also can depict the highest of morals and loftiest of ideals. It would have been worth having, if we could give here an account of some of the famous paintings of the world executed by the immortal painters, but digressive nature of the theme prevents us to do so. Every one knows the paintings of Ajanta, depicting some of the great episodes of the life and doings as well as the renunciation and enlightenment, death and doom of that great Buddha, which were a source of moving inspiration to the multitude of men and women living in those caves as Bikkhus and Bhikkhunis—monks and nuns. Mahābhiṇiṣkramaṇa is a grand painting. Exploits of Māra, the plays of the celestial nymphs, the display of flowers and creepers and depiction of so many other allied motifs and motions as well as life and scenes are remarkable even today not only for our great admiration for them but also for a great inspiration from them.