THE THEORY OF CITRASUTRAS IN INDIAN PAINTING

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THE THEORY OF CITRASUTRAS IN INDIAN PAINTING

A critical re-evaluation of their uses and interpretations

NOTES ON TRANSCRIPTION

This work contains a number of Sanskrit technical and non-technical terms that have been transcribed according to the standard system of transliteration. Geographical names retain their common form, as in Nathdvara and Jaipur. Hindi words (except Srī Nathji and technical words in the glossary) are either used without diacritics (phar) or sanskritized (Govardhana instead of Govardhan). Hindi words in the glossary follow the standard system as in McGregor's The Oxford Hindi-English Dictionary. English plural 's' is added as appropriate.

Sanskrit words are transliterated according to the standard system as follows: Vowel lengths are transcribed as ā, ī, ū. Vocalic r is transcribed as , and is pronounced 'ri'. Retroflex consonants are transcribed t and d. Sibilants are transcribed as s and ś and both correspond to the English 'sh'. Nasals and anusvāra are transcribed as follows: n, ñ, ņ, m.

Visarga (h) and aspirated consonants (ch, th, dh, etc.) are pronounced with an aspiration.

ABBREVIATIONS AND EDITIONS OF MAJOR TEXTS

INTRODUCTION

THE TEXTS, THEIR TRANSLATIONS AND INTERPRETATION

The early texts

Later texts

Interpreting the texts

been 'followed' in their illustrations. She highlights the injunctions of adhyaya thirty-five of the Visnudharmottara Purana as being followed by painters:

Towards a new theoretical and methodological framework

THE TRADITIONAL INDIAN CONCEPT OF PAINTING

The myths

The meaning of citra

The concept of painting according to the citrasūtras

Classifications

Conclusions

SYSTEMS OF MEASUREMENT AND PROPORTION

The absolute and relative systems of measurement

The digit or angula measurement

The six types of measurement

The five types of men or pañca-purusas

The system of proportion

Proportions and characteristics of the face

SYSTEMS OF MEASUREMENT AND PROPORTION

Proportions and characteristics of the body

Proportions and characteristics of feet and hands

Characteristics of gods

Characteristics of women

Conclusions

Four Tālamāna and Lambamāna Systems

Tālamāna

Lambamāna or plumb-line measurement

Conclusions

STANCES, HAND AND LEG POSTURES

Stances

Mudras

Pada mudrās

Āsanas

Conclusions

STANCES, HAND AND LEG POSTURES

Six ICONOGRAPHY

Brahmā

Emblems

ICONOGRAPHY

Conclusions

COLOURS, PLASTER, BRUSHES AND THE PROCESS OF PAINTING

The preparation and application of plaster on walls

Painting on panel and on cloth

Preparation of crayons

First sketch

Brushes

Preparation of binding media

Introduction to primary colours

White

Primary colours

Yellow

Dark colours

Mixed or secondary colours

Gilding and metals

Pictorial effect

Scientific analysis of painting and its use in secondary literature

Conclusions

THE THEORY OF RASA

Rasa theory of the Natya Sastra

Rasa theory in the citrasūtras

Citra and dhvani

Conclusions

CONCLUSIONS

GLOSSARY

NOTES

Two THE TRADITIONAL INDIAN CONCEPT OF PAINTING

Three Systems of Measurement and Proportion

Four Tālamāna and Lambamāna Systems

Five Stances, Hand and Leg Postures

Six. Iconography

Seven COLOURS, PLASTER, BRUSHES AND THE PROCESS OF PAINTING

Eight THE THEORY OF RASA

CONCLUSIONS

Overview

The study revisits the interpretation of citrasūtras in Indian painting, suggesting that rather than being prescriptive, they provide a diverse range of philosophical perspectives that challenge the traditional separation of painting and sculpture. By incorporating views from traditional artists, it argues for a holistic understanding of painting that transcends textual boundaries.

Key Points

1The citrasūtras represent complex interpretations of painting rather than strict guidelines
2The relationship between text and practice in Indian art is indirect and nuanced
3Traditional painters play a crucial role in bridging theory and practice in painting
4The study critiques existing scholarship for its fragmented approach to Indian painting
5Concepts such as proportion and iconography, traditionally linked to sculpture, are essential to understanding painting.

Details

Authors: Isabella Nardi
Category: Humanities

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