Essay name: Arts in the Puranas (study)
Author:
Meena Devadatta Jeste
Affiliation: Savitribai Phule Pune University / Bhandarkar Oriental Research Institute Pune
This essay studies the Arts in the Puranas by reconstructing the theory of six major fine arts鈥擬usic, Dance, Architecture, Sculpture, Painting, and Literature鈥攆rom the Major and Minor Puranas. This thesis shows how ancient sages studied these arts within the context of cultural traditions of ancient India.
Chapter 5 - Painting in the Puranas
28 (of 45)
External source: Shodhganga (Repository of Indian theses)
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shaded body, faces the spectator.
(2) Anrju - the back view. This position is not described.
It is the reverse of the Hivagata.
(3) sac墨k峁泃a Sarira - A bent position in profile view.
Because of a curved posture, it looks charming. Half of the
eyes and half of the forehead and also of the nose are shown.
The one eye that is to be seen in profile and also the eyebrow
is artistically foreshortened.
(4) Ardhavilocana - The face in profile, the body in three
quarters profile view. One eye is shown in full. The forehead
and one eyebrow are visible. The next visible part is half
of the cheek from one side only. Half of the usual length
of the lines on the throat and a 'yava' only of the chin are
shown. Three quarters of the waist and other parts are shown.
(5) P膩rsv膩gata - The side view proper. The position is
occasionally called Chayagata i.e. coming out of the shade,
only the side is seen, either the right or the left. In this
position one eye, one eyebrow, one temple, one ear and half
of the chin and the hair should be shown. It is possessed
of qualities like sweetness, grace and proper proportion.
(6) Parav峁沘tta - With head and shoulder-belt turned backwards.
This position is said to be 'turned back by the cheek'
(Gandaparav峁泃ta), whose limbs are not very sharply delineated.
It has appropriate measurement in proper place and has attained
Ksaya (diminution) in forehead, cheek and arm and also in the
