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The Visnudharmottara has fully recognised the close

- 279 relationship between painting and Aesthetics. 'Bhavavyakti' or the manifestation of sentiments is the most important factor in the pictorial art. Therefore the representation of the various Rasas is considered to be the soul of painting, which makes the picture life-like. This expressionism of emotions is dependent on the artist's skill in colouring. The statues are painted according to their Sattvika, Rajasa and tamasa aspects, had to be painted white, red or dark respectively. The manifestation of emotions gives rise to Rasa-Citras. The 'Silparatna' considers these kasa Citra as a group by themselves. These Rasa-Citras are distinct from the realistic paintings. According to the Natyasastra, each Rasa (emotion) had to be painted in its expressive colour, the Srigara (erotic) was of 'Syama' hue, the Hasya (laugh-exciting) of white colour, the Karuna (Pathetic) of gray colour, the Raudra (furious) of red colour, the Vira (heroic) of yellowish-white colour, the Bhayanaka (fearful) of black colour, the Adbhuta (supernatural and amazing) of yellow colour and the Bibhatsa (repulsive) of blue colour. Thus the Natyasastra has 467 enumerated the colour symbolism of the eight Rasas. The Visnudharmottara includes Santa (peaceful) Rasa. Markandeya says 'the sentiments (Rasa) represented in painting 68 are said to be nine' and enumerates their characteristics. The Srigara Rasa is expressed by the beauty and nicety of delineation of form, and tasteful dress and ornaments. The

280 painting which shows humorous objects like hunch-backed, dwarf-like or otherwise deformed in appearance creates the Hasya Rasa. What is pity-exciting, depicting abandonment, separation etc. expresses the Karuna Rasa. The painter should depict in the Raudra Rasa, harshness, anger, slaughter by flashing weapons etc. The Vira Rasa is expressed by the display of prowess, nobleness, and slightly frowned face. The Bhayanaka kasa should be elucidated by the wicked, hardlooking and vindictive expression. The Bibhatsa Rasa shows the scene of execution or the presentation of some hideous, obscene or loathsome account. A painting which shows a slight horripilation and the submissive face of 'Tarksya' is indicative of 'Adbhuta' Rasa. Whatever is shown benign in appearance, in meditation, and in postures and seats suited to the same, full of ascetic people indicates the santa Rasa.