Vastu-shastra (Vol. I: Hindu Science of Architecture; Vol. II: Hindu Canons of Iconography and Painting) v2.c77.274

v2.c77.274

“There is sufficient evidence, however, to enable us to visualise the early Buddhist painter as an artist-priest, learned in his religion as he was in his art. His system of work was probably that which prevails in Buddhist Tibet at the present time. When it has been decided that a certain building is to be decorated, or a piece of sculpture executed, artists are sent for from the leading religious institution, and these are retained in the monastery as part of the sacerdotal establishment until the commission is completed. For the time being they become members of the local brotherhood, and are lodged and fed as part of the priestly staff. The sculptor belonged to the same group as the painter, often one individual being master of both crafts. When the work was finished, these artists either returned to the central monastic institution, or travelled to another religious edifice which required their artistic services. Living in this way on the spot, and forming for the time a part of the community personally concerned in the building being decorated, their interest would be a real one, and their work would accordingly represent a genuine feeling of reverence for the edifice with which they were so intimately associated.