.

Chitrasutra is that part of the Vishnudharmottara which deals with the

art of painting. Its compiler described it as the legacy of the collective
wisdom of the finest minds . Explaining why he took up the compilation,
he said he was prompted by his concern for the future generations ; for
their enlightenment , delight and quality of life . He said it was his firm
belief that paintings are the greatest treasures of mankind as they have
the aura and power to beneficially influence the minds and lives of the
viewers.

1.4. In that context Chitrasutra makes some amazing statements:

*. Great paintings are a balm on the troubled brow of mankind.

*.Of all arts, the best is chitra. It is conducive to dharma and has the
virtue to liberate (emancipate) an individual from his limited confines

*. Wherever it is established- in home or elsewhere- a painting is

harbinger of auspiciousness.

*. Art is the greatest treasure of mankind, far more valuable than gold or
jewels.

*. The purpose of art is to show one the grace that underlies all of
creation, to help one on the path towards reintegration with that which
pervades the universe.
*.A painting cleanses and curbs anxiety, augments future good, causes
unequalled and pure delight; banishes the evils of bad dreams and
pleases the household -deity. The place decorated by a picture never
looks dull or empty.

1.5. Vishnudharmottara is dated around sixth century AD, following the

age of the Guptas, often described as the Golden Age of Indian Arts. It is
perhaps the worlds oldest known treatise on art. However, not much is
known of its author, as is the case with most Indian texts .
Vishnudharmottara follows the traditional pattern of exploring the
various dimensions of a subject through conversations that take place
between a learned Master and an ardent seeker eager to learn and
understand. Chitrasutra too employs the pretext of a conversation
between the sage Markandeya and king Vajra who seeks knowledge
about image making (shilpa).
2. Concepts

2.1. King Vajra questions How could one make a representation , in

painting or image , of a Supreme being who is devoid of form , smell
and emotion ; and destitute of sound and touch?. Markandeya
explains " The entire universe should be understood as the modification
(vikriti) of the formless (prakriti) .The worship and meditation of
the supreme is possible for an ordinary being only when the formless is
endowed with a form; and that form is full of significance. The best
worship of the supreme is, of course, contemplation of the formless with
eyes closed in meditation.
2.2. With that, the life in its entirety becomes a source of inspiration for
artistic expressions. In another passage, Chitrasutra cites the nature
that envelops the artist as the source of his inspiration. And,as regards
the skill required to express those emotions in a visible form, the text
suggests that painter should take the aid of Natya, because an
understanding of natya is essential for a good painter .

2.3. The Chitrasutra commences with a request by king Vajra to sage

Markandeya seeking knowledge about image-making.The sage then
instructs that without the knowledge of music one cannot understand
natya. And, without the knowledge of natya one can scarcely understand
the technique of painting. He who does not know properly the rules of
chitra (painting) declares the
sage can scarcely discern the essentials of the images (shilpa)