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[Full title: 3.7: Different Kinds of Portrait used in Painting (citra) (h): Connection of Sentiments with the Paintings]

It has already been stated that Painting is a medium of showing the inner feelings and emotions of a painter which can strikes the inherent sentiments of connoisseur鈥檚 mind. Through a Painting, a painter is seen to express different sentiments. That is why 产丑腻惫补 i.e., exposition of feeling is included under the six limbs of Painting.

According to the 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺 nine kinds of sentiments are reflected through Paintings and these are termed as citrarasas in this work.

These nine kinds of citrarasas are鈥�

1. 艢峁涐箙驳腻谤补 i.e., erotic,
2. 贬腻蝉测补 i.e., humour,
3. 碍补谤耻峁嘺 i.e., pathos,
4. Raudra i.e., furious,
5. 痴墨谤补 i.e., heroic,
6. 叠丑补测腻苍补办补 i.e., terrible,
7. Adbhuta i.e., wonder,
8. 叠墨产丑补迟蝉补 i.e., odious and
9. 艢腻苍迟补 i.e., quietism.^[1]

In the 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺, the nine 办腻惫测补谤补蝉补蝉 have been associated with different types of Paintings. The 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺 says that in a Painting the charming dress and ornaments with splendor and luster, expresses the erotic sentiment.^[2] The point to be noted here is that when a poet imagines a character, he paints that character with a justifying appearance in his mind before discovering the form. So, it can be said that the poets can be regarded as great painters. Sanskrit poets like 碍腻濒颈诲腻蝉补, Bhavabhuti etc. are masters in portraying characters with the power of strong and beautiful visualization. But in the context of delineation of erotic sentiment in Painting, the opinion of the Sanskrit poets are seen to be different from the viewpoint of the 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺.

The 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺 gives emphasis on charming and beautiful attire and ornaments in the projection of a picture of erotic sentiment which obviously points the outer appearance of a character. But on the other hand 碍腻濒颈诲腻蝉补, establishes the character of 艢补办耻苍迟补濒腻 with her ordinary attire made of barks and with ornaments of flowers in the 础产丑颈箩帽腻苍补艣补办耻苍迟补濒补, where the erotic sentiment is the pre dominant one. This can inspire a painter to draw the love episode of 顿耻峁�y补苍迟补 and 艢补办耻苍迟补濒腻 to project the sentiment of love even with simple attire. In this context, the inner beauty as well as the purity of the love of 艢补办耻苍迟补濒腻 and 顿耻峁�y补苍迟补 help the viewer to relish the sentiment of love.

According to the 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺, 丑腻蝉测补 i.e., the sentiment of humour is reflected through the Painting of a person who is hunchback, dwarfish and somewhat deformed in appearance.^[3] The 碍补谤耻峁嘺rasa i.e., the pathetic sentiment is reflected through a Painting in which a painter creates pathos on the basis of the actions projecting begging, separation, calamity, compassion etc. According to the 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺, the Roudrarasa is delineated with harshness, passion and anger in a picture. Moreover, to draw a picture which reflects Roudrarasa, the painter should paint flashing weapons and bright ornaments.^[4] In a picture, 痴墨谤补rasa i.e., heroism can be reflected through the display of prowess along with a noble look of promise and firmness of the person drawn in the picture.

According to the 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺, sometimes heroism can be shown with raised eyebrows also.^[5] According to the 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺, 叠丑补测腻苍补办补rasa can be manifested in a Painting through the portrayal of wicked or terrible looking persons engaged in crazy and violent activities.^[6] It can be deduced that if a painter paints the picture of the scene of abduction of 厂墨迟腻 by 搁腻惫补峁嘺 as described in the 49^th chapter of the 础谤补峁噛补办腻峁囜笉补 of the 搁腻尘腻测补峁嘺, it would definitely reflect the sentiment of fear. The 叠墨产丑补迟蝉补rasa is reflected through the Painting having places like burial site or having the terrible scene of killing.^[7]

In the 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺 it is said that the Adbhutarasa is manifested through the picture of submissive face of 迟腻谤办峁�y补 which is an epithet of 骋补谤耻岣峚^[8] and it generates horripilation.^[9] The 艢腻苍迟补rasa is depicted through the picture of the ascetic people sitting in Yogic posture or meditation.^[10] A point to be noted here is that though the delineation of the 艢腻苍迟补rasa is not accepted in Sanskrit drama, drama being all about action, a painter can execute this sentiment very nicely in a Painting as because Painting is a steel medium of expressing the feelings. That is why 艢腻苍迟补rasa is seen to be included in the list of nine citrarasas. If a painter paints a picture of lord 艢颈惫补 in his meditative situation as described in the 3^rd canto of the 碍耻尘腻谤补蝉补尘产丑补惫补, it would definitely reflect the sentiment of peace.^[11]

Footnotes and references:

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[1]:

艣峁涐箙g膩rah膩sakaru峁嘺v墨raraudrabhay膩nak膩岣�/ b墨bhats膩dbhuta艣膩nt膩艣ca nava citraras膩岣� sm峁泃膩岣�// Ibid., 3.43.1

[2]:

tatra yatk膩ntil膩va峁噛alekh膩m膩dhuryasundaram/ vidagdhave艣膩bhara峁嘺峁� 艣峁涐箙g膩re tu rase bhavet// Ibid., 3.43.2

[3]:

测补迟办耻产箩补惫腻尘补苍补辫谤腻测补尘墨峁�a诲惫颈办补峁璦诲补谤艣补苍补尘/ 惫峁泃丑腻 ca 丑补蝉迟补峁� sa峁僰ocya tatsy膩dd丑腻蝉测补kara峁� rase// 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺, 3.43.3

[4]:

p膩ru峁�yavik峁泃ikrodhavi峁�astyarth膩 na d奴峁�a峁嘺m/ d墨pta艣astr膩bhara峁嘺vatk峁泃a峁� raudrarase bhavet// Ibid.,3.43.5

[5]:

pratij帽膩garbha艣aury膩di峁�varthe峁�vau d膩ryadar艣anam/ sasmaya峁� sabhruku峁璱vadv墨ra峁� v墨rarase鈥檇bhutam// Ibid.,3.43.6

[6]:

du峁ａ弓adurdar艣anonmattahi峁僺ravy膩p膩rak膩di yat/ tatsy膩dbhay膩nakarase prayoge citrakarma峁嘺岣�// Ibid.,3.43.7

[7]:

艣mas膩nagarhita峁� gh膩takara峁嘺峁� sth膩nad膩ru峁嘺m/ yaccitra峁� citravacchre峁ａ弓ha峁� tadvibhatsarase bhavet// Ibid.,3.43.8

[8]:

Monier Monier Williams, A Sanskrit-English Dictionary, p.444

[9]:

yad膩 vin墨tarom膩帽cacint膩峁� 迟腻谤办峁�y补mukh膩natam/ pradar艣ayati c膩nyo鈥檔ya峁� tadadbhutaras膩艣rayam// 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺, 3.43.9

[10]:

yadyatsaumy膩k峁泃idhy膩nadh膩ra峁嚹乻anabandhanam/ tapasvijanabh奴yi峁ａ弓ha峁� tattu 艣膩nte rase bhavet// Ibid.,3.43.10

[11]:

mano navadv膩rani峁�iddhav峁泃ti峁� h峁沝i vyavasth膩pya sam膩dhiva艣yam/ yamak峁�ara峁� k峁�etravido vidustam膩tm膩nam膩tmanyavalokayantam// 碍耻尘腻谤补蝉补尘产丑补惫补, 3.50