Vishnudharmottara Purana (Art and Architecture)
by Bhagyashree Sarma | 2021 | 59,457 words
This page relates 鈥楾he Vishnudharmottara-purana and the Modern Paintings鈥� of the study on the elements of Art and Architecture according to the Vishnudharmottara Purana: an ancient text whose third book deals with various artisan themes such as Architecture, Painting, Dance, Grammar, etc. Many chapters are devoted to Hindu Temple architecture and the iconography of Deities and their installation rites and ceremonies.
Go directly to: Footnotes.
5. The Vi峁ａ箛udharmottara-pur膩峁嘺 and the Modern Paintings
The third part 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 provides the fullest account of Indian painting which bears various branches, methods and ideals of Indian Painting. 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 reference of using walls as canvas is found where the walls are said to be plastered before painting.[1] The paintings discovered in different regions of Rajasthan such as Bikaner, Palitana, Udaipur, Jaipur in 17th century are also seen to be drawn on walls.[2] The following figures show the pictures of wall painting of Kotah鈥檚 Garh Palace.[3] [4]
Figure: Rajput Woman;
Figure: 碍峁涐梗峁嘺 with 搁腻诲丑腻 and other 骋辞辫墨蝉
The 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺 also suggests portraying different seasons through paintings. In the 搁腻驳补尘腻濒腻 paintings seasons are beautifully seen to be projected through the paintings of some 搁腻驳补蝉 and 搁腻驳颈苍墨蝉. A.K Coomaraswamy also agrees on it.[5] The following figures show the painting of spring and rainy seasons.
Figure: Vasanta 搁腻驳颈苍墨 with Spring Season[6]
Figure: Madhu-惭腻诲丑补惫墨 搁腻驳颈苍墨 with Rainy Season[7]
The 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺 also gives emphasis on the proper projection of every limbs of a human body in a painting. That is why this work gives proper measurements of every limb which are already discussed in previous chapter.[8] In the Jain painting also the drawing of human figure is seen to be very particular, the shape of the nose of a human portrait is seen to be very pointed and the corners of the eyes are seen to be extended.[9] The 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺 accepts 丑颈峁単耻濒补办补 i.e. vermilion and 丑补谤颈迟腻濒补 i.e. orpiment as materials of colours used in painting. In the 顿补办峁峁嘺 辫腻峁� satra of Majuli of Assam, manuscript paintings painted with 丑颈峁単耻濒补办补 and 丑补谤颈迟腻濒补 are seen to be preserved. The following figure shows the picture of these paintings.[10]
Footnotes and references:
[1]:
Vide.ch.5, f.n. 48
[2]:
A.K Coomaraswamy, Introduction to Indian Art, p.118
[4]:
.10.2017, Venue: Kotah鈥檚 Garh Palace, Rajasthan
[5]:
A.K. Coomaraswamy, Introduction to Indian Art, p.120
[6]:
[8]:
Vide, Chapter: 5
[9]:
A.K Coomaraswamy, Introduction to Indian Art, p.116
[10]:
Source: Google, Wikimedia Commons, Licensed Under Creative Commons, https://as.wikipedia.org/?curid=59211