Vastu-shastra (Vol. I: Hindu Science of Architecture; Vol. II: Hindu Canons of Iconography and Painting) v2.c78.5

v2.c78.5

Similarly considerable documentary evidences (cf. Vinaya-Piṭaka etc.) indicate that for some centuries before Christ, painting in India was comparatively advanced from of æsthetic expression. The age of Vātsyāyana is pre-Christian and the celebrated writer of Kāmasūtra is very well acquainted with the art-canons of pictures. Kauṭilya, the greatest diplomat and socio-political thinker of our land was also well acquainted with the art canons. Similarly, the poets like Bhāsa, Kālidāsa, Aśvaghoṣṭa, Bāṇa and Śrīharṣa and famous writers like Varāhamihira, etc., some of whom were pre-Christian and others, though post-Christian belonged to the early and medieval centuries, had also drunk deep in this fascinating art tradition. Side by side with this historical evidence of the earlier character of literary references, an equally early age of the archaeological specimens may also not be doubted. The paucity of archaeological remains going as far back as pre-Christian period is unfortunately standing in our way to make any bold assertion in regard to the pre-Christian early Indian paintings, but nevertheless we can have the satisfaction from the corroborations in literature that the cultivation of this art in shape of beautiful pictures was the time-honoured tradition of ancient India. It is a recognised fact that pictures were a great aid in popular education as well. 'As permanent or temporary decoration, on the floors, on the walls and ceilings of private houses, palaces and temples and on the streets paintings instructed and enlivened the mind of the public. Even religious teachers used painting as the most popular means of communication, that could be understood by the illiterate and the child.' "There is a class of Brahmanical teachers known by the name of Nakha. They make a (Portable) framework upon which they cause to be drawn a variety of pictures depicting scenes of good and evil destinies, of fortunes and misfortunes and causing the labels to be inscribed...."—Kramrisch. What are these Yamapaṭas? They too had this use of popular education. And if Dance and Drama can claim a hoary antiquity for their origin and development, Painting, their beloved and charming sister, must be also as old as their brothers. Drama is called Rūpaka which requires something Rūpya and so as we have already seen (cf. 'Painting and Æsthetics' the IX chapter) that Drama is nothing but a succession of pictures. If there were moving pictures of men and women, divines and mortals, surely there were stationary pictures on some background, it may be the board, the paṭṭa, the cloth the paṭa or the wall, the bhitti. Man being a rational animal, in his progress of civilisation, was sure to adopt the artistic means for the development of culture and refinements alround both in the ways of doing and the ways of thinking. This is the essence and also a meaning of civilisation as well as a pragmatic approach to life from the times immemorial. All this gives us full liberty to begin with any of these two treatments being taken either first or afterwards. For the popular appeal, we therefore propose to take up the pictorial heritage of India from the archaeological stand point first.