4. Characteristics and classification of Indian Painting

255 THE ADVANTAGES OF GOOD PAINTING. Speaking about the advantages of good painting, the author of the Citrasutra of the Vismudharmottara says that painting drawn with care, pleasing to the eye, thought out with supreme intelligence and remarkable by its execution, beauty, charm, sentiments and such other qualities, yields the desired 23 pleasure. The artists, therefore, should take great care to see that the painting is appreciated by every one. Because, 24 the interest taken in pictures differs with the spectators. In painting, delineation, shading, ornamentation and colouring are the decorative factors. STRONG POINTS IN PAINTING. The line-sketch (delineation and articulation of form), firmly and gracefully drawn, is considered as the highest achievement by the masters. The conoisseurs consider shading and depiction of modelling as the best. Women appreciate decoration in art and the common people appreciate splendour and glory of the colour. PAINTINGS SUITABLE FOR VARIOUS PLACES. There are different types of pictures depicting different sentiments and expressions. Naturally suitable places for various types of paintings differ according to the pictures. Pictures displaying amorous sentiments, humour and peace should be used only in private houses while the supernatural and terrific pictures should be painted only in temples and the

256 assembly-halls of palaces. TYPES OF PAINTING, In ancient India paintings were exhibited in various types. According to Kamasutra of Vatsyayana as well as the Visnudharmottara, wall-painting, pictures on board and pictures on canvas were equally in vogue. As stated before, the prehistoric cave paintings in India were all mural paintings. In Buddhist period the rolls of painted pictures describing the life and teachings of Gautama Buddha were the medium for spreading religion. In the first act of Mudraraksasa, a spy of Canakya spread out a roll of pictures before the people in Candanadasa's house. Dr. Stella Kramrisch has given the earliest known reference, mentioned in the Samyuttanikaya, made by Dr. B.M. Barua about the paintings of male and female 25 figures on wooden boards, walls and on cloth. FOUR KINDS OF PAINTING. 26 The Vismudharmottara says that painting is of four kinds. 'Loka-Sadr sya', in - (1) Satya - true to life i.e. realistic an oblong frame, bearing resemblance to this earth and with proper proportion - (2) Vainika - means lyrical (lit. of the lute player), derived from Vina - a lute. This picture is in a square frame. Vainika is rich in the display of postures, maintaining strict proportions and well-finished. In short a beautiful portrait with the consummation of skill and perfection of high order. (3) Nagara of the citizens and the gentry; pictures in round -

- 257 frame, with firm and well developed limbs with scanty garlands and ornaments. (4) Misra Misra - mixed. It is composed of the above three categories. According to Samarangana Sutradhara, types of painting emerge from the types of the background. They are on Patta i.e. board, Pata i.e. cloth, and Audya i.e. wall. This refers to the mural paintings and those drawn on cloth and board. The 27 'Mana sollasa' classified the types of painting as five-fold. (1) Viddha Citra Sadrsya, the exact copy of - 1. e. darpana an object which corresponds to 'Satya' . loka-Sadr sya in the drsya Vismudharmottara; Sadrsya stands for realism. (2) Aviddha Citra Here only resemblance is expected. (3) Bhava - The painting that expresses the Rasas like Srngara etc. (4) Rasa Citra Here 'rasa' means coloured solution. (5) Dhuli Citra - Churna or powder is employed here. According to 'Silparatna' (1) Rasacitra indicates the various Rasas. (2) Dhuli citra and (3) Citra - the 'Satya' in the Visnudharmottara and Viddha in the Manasollasa. From the 'Silparatna,' we know that Dhulicitra, powder painting, familiar to Bengali ladies as Alpona, was applied as temporary coating of powder colours on a beautiful piece of ground. 28 THE IDEALS: THE SIGNS OF BEAUTIFUL PAINTING. According to the Visnudharmottara, "A painting in which every thing is drawn in an acceptable form in its proper position, in its proper time and age, becomes excellent. "Moreover, a painting should be very beautiful, when a learned # 29

- 258 - (artist) paints it with golden colour, with articulate and yet very soft lines, with distinct and well arranged garments, and lastly not devoid of the beauty of proportionate measurement." 30 MERITS AND DEMERITS OF PAINTING. The canons of art criticism are discussed in detail in It enumerates the merits and demerits the Vismudharmottara. of a painting. In painting, delineation, shading, ornamenta tion and colouring should be known as decorative elements. Sweetness, variety, spaciousness of background (bhulamba), proportionate to the position (sthana) of the figure and minute execution are the good qualities of painting. Indistinct, uneven and inarticulate delineation, representation of the human figure with lips too thick, eyes and testicles too big and unrestrained in its movement and action such are the defects of citra. In short the proportion, symmetry, different methods of foreshortening (Ksaya-Vrddhi), beauty in colour and other merits enhance the charm of a picture. Weakness or At the end of the Citrasutra, Visnudharmottara gain describes the merits and demerits of painting. thickness of delineation, want of articulation, improper juxtaposition of colours are said to be defects of painting. Proper position, proportion and spacing, gracefulness and articulation, resemblance, decrease and increase i.e. fore shortening these are known as the eight qualities of painting. Painting which has not the proper position, devoid of (the

259 appropriate) Rasa, empty to look at, hazy with darkness and devoid of life movement (cetana) is said to be inexpressive. THE GREAT PAINTER. "31 Naturally the artist in ancient India also had elaborate canons of criticism in order to understand and judge merits and demerits in pictures. The Visnudharmottara thus commends the ability of the artist. "He who paints waves, flames, smoke and streamers fluttering in the air according to the movement 32 of the wind, should be considered a great painter." According to Visnudharmottara the painter should make the picture alive, that is to say, he should depict in his painting the life-movement or cetana ('Sasvasa iva yaccitram taccitram subhalaksanam'). SOME HINTS TO THE PAINTER. A picture is believed to reflect the mental and physical state of the artist. Hence the Visnudharmottara gives some guidance in this respect. It describes how a picture is to be painted in the orthodox mode. The painter having worshipped and bowed down to Brahmins and the preceptor who know this art of painting well, uttering 'Svasti', clad in a white garment and restrained in his soul, is required to sit devoted, facing east, thinking of God. The artist should begin his work on an auspicious day. The Visnudharmottara mentions 'Anyacittata' or absent-mindedness as one of the causes that ruins the formation of a good picture. The artist should dedicate himself to his art. Therefore, bad seat, thirst, inattentiveness and

- 260 bad conduct are the root-evils in the painter that mar his 33 painting. The picture should attract the mind of the spectator at first sight. And this depends on the care, intelligence and art of the artist.