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THE VISHNUDHAEMOTTAEA

THE VISHNUDHARMOTTARA
(PART
A.

III)

Treatise on Indian Painting and

Image-Making

By

STELLA KRAMRISCH,

Ph.D.

Lecturer in Fine Arts (Department of Ancient Indian History and Culture), Calcutta University

Second Revised and Enlarged Edition

CALCUTTA UNIVERSITY PRESS

1928

PBJKIED AXD PUBLISHED BT BHTJpENORALAL BANERJEB

AT TBB CALCUTTA CNlVERilTT
PfiEgfl,

iENATfi HOUSE, CALCUTTA.

To

ABANINDRANATH TAGORE

PREFACE
Mr. A. K. Maitra, Director of the Varendra Research Society, has drawn my attention to the Vishnudharmottara,
.as it

deals

rather

fully

with

prescriptions

for

painting

and image-making.

owe him many

With
of

regard

to helping

me

valuable suggestions. with the translation I am in-

debted to Mr. Rakhohari Chatterji, M.A., a former student

Prof. Dr. D. R. Bhandarkar, mine. and Prof. Dr. B. M. Barua of the Calcutta University have assisted me in revising the translation and reading the proofs of the

second edition.

Without the collaboration

I

of

all

these

scholars the translation of so technical a treatise would not

have

been

possible.

express

my

sincere gratitude tc

each of them.

STELLA KRAMBISCH

INTRODUCTION

"
in

He who
air,

paints

waves,
to

flames

smoke and streamers

of

fluttering

the

according

the movvnirnt

the

wind, should be con-

sidered a great painter."

Vishnudharmottara, Oh. 43,

"
the best of

V. 28,

Painting
in a

is

all 11

arts,

conducive

to

dharma, pleasure,
pleasure,

ircalih

and emancipation.
house ."

gives the

greatest

when

placed

Vishnudharmoltara, Ch. 43, V. 38.

INTRODUCTION
Supplement or Appendix to the Yishnupurana. Part III of the Vishnudharmottara gives the fullest account hitherto known) of the various
is

The Vishnudharmottara

It deals branches, methods and ideals of Indian painting. not only with its religious aspect but also, and to a far

greater extent, with

the joy that

its

secular employment.

It

proclaims

colours

and forms and the representation

Speaking of
it

of things seen

and imagined produce.

relation to religion,
:

artistic

representation in

points out

their

mutual limitations

"

Vajra said
so

The Supreme Deity has been

this

described as

devoid of form,

smell and emotion and destitute of sound

form can be (made) of Him ? Markandeya replied Prakrti and Vikrti (come into form of the existence) through the (variation in) the

and touch

how

Supreme
perceived

Soul.

That form
Prakrti.
Vikrti

of

is called

(which is) scarcely to be The whole universe should be

modification)
of

Him

known

as

the

(i.e,.,

Him, when

endowed with form.

Supreme Being) are The best position with form

Worship and meditation (of the possible (only when He is) endowed
of the

(Supreme)

Soul

For seeing the (however) is to be imagined without form. M1 worlds (He) possesses eyes closed in meditation This concession being made, life in its entirety becomes
fit

for artistic representation',

and the realm of imagination

artists, as

is

as close within

the

reach of the

nature that

surrounds him, for tradition guides him in the one case and observation checks and inspires him ini the other,
Part III, Ch. 40, verses 1-19,

TNTEODUCTION
The
Vishijudharmottara
is

admits

hit

several

places,

that

but repeating and compiling from older sources. These being lost to us, our text represents the earliest
it

exhaustive account of the

can)

theory of painting.

Its date

be ascertained partly from chapters being copied from

sources,

earlier

and partly from a custom of setting up statues to renowned personages with which the text deals. Vyasa, the reputed author of the Mahabharata, was
worshipped as a deity.
of the

Directions

as

to

the

making
on

image
1

of

Vyasa

are given in the chapters dealing

to

with

image-making,
Directions

consecutive
are
also

the

chapters

painting.

given for making images

of Yudhisthira,

Bhima, Arjuna, Nakula, Sahadeva, Krshna,

Jaimini,
Paila,

of

Sumamta,
of

Vaisampayana

(the

four

disciples

Jasoda, Balarama, Saml3& and Aniruddha. RukminI, Satyabhama, At the time of the compilation of the Vishnu-

Vyasa),

and

of DevakI,

dharmottara

the

Mahabhfefata

must
its

have
heroes,

been
but

held
also

sacred to such an extent! tMft not only

its

so-called

author aaH

yjttfs*

deities.

Valmiki,

too,/'Mjgjs

disciples were worshipped as worshipped as a deity and how

2

to

make his image is att* The complete bdcM

told in the Vishnudharrnottara.

of

the
8

Bamayapa

being

not

anterior to the Mahafcharata, and the Mahabharata in its present shape boiflg assigned to a period between 200

and

400

A.Dr/FffiJize

Vishiiudharrnottara

cannot
date
is

date
also

earlier

than

tSellBEth

century A.D.

This
of

evident from

th^E of

the Vishnupurana,

which
those

the

Vishijudharmottara
is

is just

an appendix.
accounts
'

The Vishnupurana
oru

based

in

its

genealogical

of the

The Vayu borrowed the Bhavishya, Matsyaand Vayu account about or soon after the year Bhavishya's augmented
1

e 3

Part III, Ch. 85, verses 65-79. Part III, Ch. 85, verses 63-64.
Hopkini, Great Epic of India, pp. 58-84.

INTRODUCTION
330 or 335 A.D.
1

The Vish?uipurana

cannot, therefore,

be earlier than the 2nd half of the 4th century A.D. The lower age-limit of the Vishnudharmottara

must

however be pushed still further. For Part III, Chapter 27, dealing with colours, is borrowed verbatim from Bharata's
Natyasastra,

and the number of rasa's in the Vishnuis

dharmottara
Bharata.

nine,

while only
of

eight are dealt with by

text
of

The upper
every
god,

age-limit

the

may

be

conceived

from an iconographic peculiarity

its

pantheon.

In

it

hero, philosopher or sage finds his place some-

where

round

the

central

figure
is

of

Vishnu, the
of Sankara,

Supreme.

Yet no mention

made

God who up

worshipped in the form of an image. Had Sankara existed at the time of the compilation of the chapters on painting, the author would have incorporated
to the present

day

is

him

into the

Vaishnava pantheon in

spite of

his being

ail

incarnation of Siva.

The chapters of the Vishiiudharmottara dealing with painting must have been compiled in the seventh century,
contemporary with the latest paintings of Ajanta we get acquainted with the theories prevalent
time of the
full
;

and
at
it

so

the

maturity

of their practice.
is

But

must

not be forgotten that our text

but a compilation! and that its recipes and prescriptions go back to a remoter past. Valuable as these various kinds of information are, we have
to

be aware, that like

all

theories they are derived from, arid

subservient to, the practice.

artist, to

They

left
'

every freedom to the

work, as the text says,

according to his
states

own
his
:

intellect/

What

Sri

Kumara modestly

in

also holds good for our text Silparatna (verse 14) " I describe the methods of Chitra for the benefit

of the ignorant."

Painting in
1

ancient

India,

especially
xiii

in

the

Gupta

Pargiter, Dynasties of tb

Kali Age, Intro., pp.

and

xvi.

INTRODUCTION
was
of

age,

great

importance in the
varied

life

of the citizen.

The

interest taken in pictures

with the education

of the spectator.

"

The masters

praise the rekha's (^fl)

(delineation and articulation of form), the connoisseurs praise the display of light and shade (sf&TT), women like

the

display of ornaments, " richness of colours appeals.

care,

to

the

rest

of

the

The

artists, therefore,

public should

take great

that

the

painting

by every

one.

There was

be appreciated ample opportunity for con-

may

templating and appreciating paintings. From the great hall built by the Bodhisat
to

according

the

Maha-Ummagga-Jataka
its

painted with beautiful

of

pictures,

and the subterranean palace

stucco-coated
walls,

the

same Jataka,
of

with

bearing
the

paintings

the

splendour of Sakka, the zones of

the

Mt. Sumeru, the sea and

Himavat, the lake Anotatta, the vermilion mountain, the sun; and the moon,
ocean,
the
continents,

four

the
of

heaven
sense

of

the
their

great

kings with the

to

six

heavens

and

divisions,

the

picture-gallery

(cittagara) in the royal pleasure-grove of

Prasenajit,

King
-

of Kosala, many people used to go, amongst 2 to them the Bhikkhunis, who were forbidden to do so

where

and landscapes painted by artists of the royal and the servant class alike, as mentioned in the Ratnavall, Baghuvamsa, Sakuntala and Uttara-Ramathose

many

portraits

an unfading delight taken in the magic and Wherever there was a the sensuousness of painting.
charita

we

see

painting enhanced its mood to the palace, and from the palace to his
festival,

" from the

city-gate

own

house, on both
all

sides of the road, he erected lattice-work,

and covered

with pictures, scattered flowers 3 upon the ground, hung flags and banners."
over with mats, covered
all

Jataka, Vol. VI, pp. 159 and 223.

Vinaya, Vol. IV, Pachittiya, No. XLI,

p. 289,

INTRODUCTION
As permanent
or

temporary decoration, on the

floors,

on the walls and ceilings of private houses, palaces and temples, and in the streets, paintings instructed and enlivened the

mind

of

the
the

public.

Even

religious
of

teachers

used painting
cation),

as

most popular means

communi-

child.

that could be understood by the illiterate and the "There is a class of Brahmanical teachers,

by the name of Nakha. They make a (portable) framework upon which they cause to be drawn) a variety of pictures, depicting scenes of good and evil destinies,
kniowiu
of fortunes

and misfortunes, and causing the labels to be inscribed: 'By doing this deed one attains this,' 'By
doing that,
thus showing different that/ l destinies, they wander about with these pictures." That every cultured maru had in his house a drawing

one attains

board, and a vessel for holding brushes and other requisites 2 of painting is evident from Vatsy ay ana's Kamasutra,. But

one should not have a painting by one's Vishnudharmottara. house, says the
only are to be painted
love,

own hand
Certain

in one's
objects

in

gaiety

and peace,
of
life

terrible

aspects

private suggesting while the supernatural and the were reserved for the walls of

residences,

temples and royal audience-halls. The paintings were executed in various types wallpaintings, pictures on board and on canvas were equally The frequent (cf. Kamasutra and Vishnudharmottara). were sometimes in the shape of rolls, exhibiting latter
;

continuous representation.

Such

roll

was spread out

by a

Canakya before the people in Candanadasa's 8 If framed, house and was exhibited by him with songs.
spy
of
1

Sftrattha-Pakaainl,

Pre -Buddhistic Indian Philosophy, Review, June, 1927, pp. 364-366.

3
8

Siamese edition, Part IT, p. 398. Of. Barua's History of Maskari-Go'sala's Early Life, Calcutta p. 110
;

Benares

ed., pp. 32, 44.

I.

Miidrarakshasa, Act

O/.

quoted pp. 370-371.

V,

p. 153,

and discussed by

Harsha-Charita, Nirnaya Sagara Press Edition, Barua in the Calcutta Beview, June, 1927,

INTRODUCTION

they were of oblong, (square and round shape and the Vishijudharmottara accordingly distinguishes 4 types of
pictures
in
:

(1) satya

an oblong

(Hcg)-\4ruar-r6alii8tior a&we.,ir$yjay> vainika (tf^Rff) which frame may

;

(2}'
-

mean

lyrical,^ in *

'

square "frame, and

>
i

of the citizen,

gst^piciures
is (4)

ini

nagara (TRFC), round frames, while the

(3)

fourth type simply

tion

with
to

misra (finr), mixed. In connecwall-paintings the Vishnudharmottara also

inlaid

with precious jewels. From the Silparatna, on the other hand, we know that Dhulichitra,
alludes
floors

Powder-painting,

familiar to

Bengali

ladies

as

Alpona,

was applied
Painting
religious
2

as temporary

coating of
1

powdered colours on
secular

a beautiful piece of ground.

taking
it

such

wide part in

and

life,

invented to

was only natural that legends were The Vishnudharexplain the origin of the art.
of

mottara

gives a long account

how
shame
3

the sage

in order to put

the apsarasas to

Narayana created the most

beautiful

nymph

Urvast,

by

drawing her outline with

The Chitralakshana again tells us how mango- juice. king Nam-grags a Jigs t' ul, ordered by Brahma, painted the likeness of a deceased son of a Brahmin; whereupon Brahma made it come to life, and having thus
defeated

Yama,

restored

the

son

to

his

father.

In

either legend the origin of the art of painting is seen in the

outlining of a
a
living

human

figure

for

the

purpose of creating
origini is

human) form.

This reconstructed
similar
5

magic

and non-aesthetic.
Bhasa's

notion

is

to

be found in

Svapna-Vasavadatta,

where

king

Udayana and

Silparatna, Ch. 46, verses 143-145.

a
3

Part

I,

Ch. 129, verses 1-19.

Cbitralakshana (German transl., Dauffer,

Dokumente

der indischen Kunst),

pp. 129-136. * C/. A. K. Maitra,

1928.
8

Aims and Methods

of

Painting in Ancient India,

llupam,

Transl* S. Subba Bau, Madras, p. 48.

INTBQDUCT10N
princess YfisavadattS,

with

whom
ini

he

had

eloped,

ate

by their parents, two on a board. by drawing portraits These instances prove that the artist draws from his
though
absent,
effigies,

married

the

of

the

memory
tradition
text ijon
of

when
the

visualizing
to

portrait,

.With

this

another has

be

compared .x
the

A
d'pag

Tibetan

bzair
tells

eighteenth century, Sarat Chandra (ed. by

bsam
caused

Das,

Calcutta,

1901)

us

how king Udrayana

of

Rauraa
his model.
of
1'u

a picture of the Buddha to be reflex of the figure of the Dasabala,

picture
(derived
defines
like a

made,
as

by taking a
This

has become

from the
as

known under The water).

1

the

mame

lon^ma

Silparatnia

accordingly

what bears a resemblance and looks painting 2 The imitative and the imaginareflex in a mirror.
representation, therefore, were felt
true.

tive origins of pictorial

as equally

The

Vishijudharmottara quotes

tb#

Urvasl-legend, yet the text never grows tired to point to things seen as ever fresh sources of artistic inspiration, when dealing with the drshta '(i.e., with things

But not only the twofold origin) of painting observation and imagination was theoretically kmown
seen)
.

in
to

the

authors

of

the various treatises; the Vishijudharmo-

ttara, moreover, introduces its chapters

on

painiting

with

a discourse, where without a knowledge of the science of dancing the rules In another Of painting can scarcely be understood.

Markarujeya instructs king V&jra, that

passage,
of

the

observation
are

of nature

and

of

the

rules

dancing

indicated

as

the

ultimate

resources

of

This does not mean that the positions of the painter. None of the nine positions dancers have to be painted.
1

Lajiffer,
8

1.

c., p.

186.

Silparatna, IV, Ch. 46, verses 145-146.

tradition, agreeable to

Greek
only,

has

it

an appreciation of the naturalistic aspect of art that painting began with the outlining of a man's shadow (The Elder

Pliny's chapters on the History of Art,

Book

XXXV,

15).

10
of the
treatise

INTRODUCTION
painting in the Vishnudharmottara with any of the 101 positions explicitly ini Bharata's Natya-sastra. What is meant

on

coincides

described

by the ment
of

derivation of painting from

in

common
ini

to

dancing is the moveboth these expressive forms; it

it

asserts itself

purity through dancing,

guides the
figures,

hand
as
if

the

artist,

who knows how

to

paint

breathing, the wind as blowing, the

fire

as blazing,

and the

streamers as fluttering. The moving force, the vital breath, the life-movement (chetania), that is what is expected to

be seen in the work of a painter, to make

it

alive

with

rhythm and expression.

the
expressive legends of the origin
force
of

Imagination,

observation

and
the

rhythm
painting,

are
to

meant
its

by

of

be

essential

features.

The yishnudharmottara
drshta
anid

clearly
latter

distinguishes

between

adrshta,

the

comprising
drshta,
in

invisible or rarely to

be seen.

The
of

things things that

call

are seen easily by ordinary mortals, excel

what we

The hours landscape-painting. seasons are described (Ch. 42).

connection of
in the

day and night, the There we find a close

mood and

time,

which reached

its

height

Eagmala pictures, where season, hour, emotion and At the same time music became fused as painting. details are observed with such sincerity as we find in Dutch masters, for instance, in the the pictures of The light effects of the drinking place. description sought to be produced show a very sensitive reaction to
optic
effects

as the

faded

light

of

the

candle

in

the

morning dawn.

Yet we are told that moonshine should be

shown by a Kumuda flower in full bloom, and sunshine by drawing creatures suffering from heat. In one
atmospheric effects are observed, while in the other, the behaviour of one object or the other, reacting
instance,
to

the atmospheric

change

is

represented

suggestively.

INTRODUCTION

11

This interest IB the living individuality of the single forms of nature gives to Indian landscape the charm
of story-telling.

with the n&ive joy in the variegated forms of nature we learn that rivers are to be represented
Side

by

side

in

human
be

but- they

shape, as was the case with them in Greece, should stand on their vahanas, their knees

should
pitchers.

bent

and
the

their

hands

should

hold

full

What an amazing
of

association

of ideas!

The

again into action as an ordinary human being, bending down under the load This of the full pitcher of water drawn from the river.
personification
river

put

versatility

in

visualizing

abstraction and actual

of nature.

action

replaces the

mere observation

That seas should

have water depicted instead of a halo, or that an artist should show a pitcher to suggest a tank, a conch shell in
representing a conch shell, and a lotus flower in representing a lotus flower, once more points to a matter of absorbing interest namely, the single form of nature exercised

on the mind of the artist. where large appearances

He

rendered

it

faithfully.

Yet
seas,

like
etc.,

whole

rivers

and

landscapes with rising suns, his refuge and delight in

or
to,

had

to be painted,

he took

introducing personifications such actions of some members of the scene appropriate

and indicative

of,

their

surroundings.

The Indian
author

artist

never took the world at a sweeping glance. Observing the details of appearance, the
describes

of

the Vishnudharmottara

of

men.

artisans,

types the nobility, widows, courtesans, Country people, etc., are vividly described wrestlers, soldiers,
their
class,

the

different

in movements, habits and features, peculiar to

while, at

the

same time, most

types
of

of

them

belong
(1) (5)

to

one

of the five standardised

(2)

Bhadra, (3) Malavya, (4) Their respective measures should be 108,

men, called Euchaka and

Hamsa,
Sasaka.

106,

104,

100

12

INIBODUCWON
,

90 angulas in contradistinction to the measurement the Brfaat SariihitS, where the relation of &kes given is inverse, 96, 99, 102, 105 and 108 angulas respectively*

detailed description of the 5 types

given

there.Jr

1 JKAS, Vol. VII, 1875. The Brhat Samhit (it anslated by H. Kern), pp. 98-97 : (2) By Jupiter being in its power will be born (the personage denominated) Hamsa by Saturn, the man 9&9a by Mars, the Buchaka by Mercury, the Bhadra.;
;
; ;

and by Venus, the M&lavya. (7) The length and stretch

>

of

the

Hamsa

is

of

98 digits.

The personages
taller

going by the names of 9 aCa Buchaka, Bhadra and Malavya, are each the preceding one by three digits.

than

(10) The Malavya will be marked by arms resembling an elephant's trunk, and by hands reaching to the knees. His members and joints are fleshy, he has a well-proportioned and neat frame, and a slender waist. His face, of oblong form, measures 13 digits, the transverse measure between the ears being three digits less. He has fiery eyes, comely cheeks, even and white teeth an-d not too thick lips. (11)

of

Having by bis valour obtained wealth, he will, residing Mount PSriyatra, reign as a wise king over Malava, Baroach,
(12)

in

the recesses

Surashtra, Lata,

Sifcdh,

at

of seventy years piously depart from life a place of pilgrimage. Having in due form indicated the characteristics of this man, I now proceed to mention those of the others.
,

and s6 forth. This Malavya will at the age

(13)

The man Bhadra

is

long,

his length is

equal to the

marked by having the arms thick, equal, round and stretch of his arms from one side to the other ;
and dense hairs.
;

his cheeks are covered with soft, small

In
thick
;

his

constitution skin and sperm are predominant

his breast is bfoad

and

his prevailing quality is goodness.

forbearing,
sciences.

has a tiger- like face, is steadfast, virtuous, grateful; he has the pace of an elephant, and knows many,

He

philosophy

sagacious, handsome, clever in the arts, constant, an adept in ascetic has the forehead and temples well-shaped ; the loins likewise, the hands and feet lined like the lotus calix, the nose fine, the eyebrows even and
(15)
is
;

He

well-knit.
(16)

His person smells

like earth

saffron, frontal juice of elephants, agallochum.

when moist from The hair

fresh
of his

rain,

or cassia-leaf,
is black, curled,

head

and such that each single hair has its own pore. (18) Should his length come to 84 digits and his weight to one bhara, then he but if he have the full measure implied in will be lord over the Middle country
;

" he will be emperor of the whole country. the words "taller by three digits (19) After dutifully ruling the country he acquired by his bravery, the Bhadra^
at

eighty years of age,

will

depart

from

life at a

place of pilgrimage and go to

heaven.
(20)

The
;

<Ja9a

will

blubber eyes

a swift pace

have somewhat projecting, otherwise fine teeth, fine naiid, he takes delight in science, mining and trade > has full
;

cheeks, is false,

good general

fond of love's sport and partial to other men's

IN33ZODUOTQN
figures

13
of

may

appear

in* various
:

positions,,

which nine are the leading attitudes

1

(I) %^n^?f^yjvagata)----the front

view
;

(2)
(3)
'

*F&$

(anrju)

the back view

qt^dtfffliftk
;

(sSchtkytasartra)^-a

benrtr

position

in profile view
(4)

trtf^Wf
ini

(ardhavilochama)

the

face

ini

profile,

the body

(5) trrafaw (t)a^vagata)

; three-quarter profile the side view proper

view

(6) tftTfrl (parSvrtta)

with

head

and
view

shoulder-belt

turned backwards
(7)

WW

(pyshthagata)

back

with
;

upper

part of the
wives.
:

body

partly visible in forlorni profile

restlesa, valorous, obedient to his

mother, and attached to woods,

of another's

hilte, rivers*

and wildernesses.
(21)

Tne Same 9 ac.a

92 digits in

is suspicious,

and a keen observer

He

id

length, and, not being very heavy, has a soft step.

weak points. The chief

constituent of his body is marrow.

(22)

His waist

is slender.

(28) /This

9 a ? a W *M
of the

De a border chieftain or provincial governor

Bt6

will/ seventy years old, reach

(24)

The marks

Yama's home. Hamsa are the mouth

:

red, the

face
;

showing thick cheeks and an elevated nose

the nails wholly red
(25)
;

the head round

gold -coloured, and, the eyes honey-like,

etc.

He

delights in

water

His length according

to

the statement of

the Sages will be 96 digits.

(26)

The Hamsa

will

possess the country of Khasa,

9^ raaena Gandhara, and

for

the land between the- Ganges

and Yamuna);

after exercising the royal {>ower

90

years, he will meet death within a wood.

(27)

The worthy Buchaka by name

brave,
cruel,

will

tinged dusky colour, a neck marked with three folds like

have good eyebrows and hairs a red a shell ; an oblong face.

;

He

is

an egregrious counsellor, a chief of robbers, and a practised

of

soldier.
(28)

The measure

measure
(20)
(30)

of hid middle.

Buchaka's face, in length, being taken four times, gives the His skin is thin.
is a

His length

hundred

digits.

an adept in charms and spells, and has thin knees and legs. When this Buchaka has reigned as king over the Vindhya, Sahyagiri and Ujjain, he will on
is

He

reaching seventy years, find his death by sword or fire. (31) There are five other men who will be the attendants of the fore-mentioned
,

monarchs.
(105)
tallest,

The number
;

of digits

which make the measure

;

of

men's height

is, for

the

108

for those of middle height, 96

for the shortest, 84.

14

INTRODUCTION
(8)

yRgTf (pariv^tta) with the body back from the waist upwards, and lastly
(9) 4l4JMd (samaniata)
1

sharpiy

turned

the back view,

in

squatting

body bent. In a further passage thirteen positions are enumerated which, however, is clearly an interpolation.
position

with

These positions are obtained in painting with the help of kaya fagr) and vrddhi (f1%), decrease and
increase, that
is

to say, the science of foreshortening.

Foreshortening

(pramana)

constitute
of

working
of

(Ksaya and vriddhi) and proportion with regard to single figures the The law observation and tradition.

ksaya and vrddhi was as intensely studied by, the ancient Indian painter as was perspective by the early
masters.

Italian

Pramana,
canon,
valid

on

the

other

hand,

was

the standardized
figure

for the upright

standing
of

and

to

be

modified by
is

every bent
in
full
;

and turn.
it

The Hamsa
the

measure

detailed

is

the uttama navatala type.

The annexed
of

uttama navatala measure

the

plates compare Vishnudharmottara

found in the Brhat Samhita, Sukranltisara, Chitralakshaija, and with the Uttamaniavatala in G. Rao's

with those

Talamana.

Though not

distinctly mentioned,

it

is

evident that the

body of a deity should be of the size of a Hamsa. Rdshis, Gandharvas, Vidyadharas, Daityas, Danavas, ministers, Brahmins, Samvatsara Jfim? 6iaQ^^g^Uj| and the family of the size of a Bhadra. priest (purohita) should be
<

Yakshas, prostitutes and Vaisyas should have the size of a Buchaka. Kinnaras, Rakshasas, Nagas and domestic women should have the size of a Malavya, while the
chief

amongst men and the Sudras

Sasaka (Ch. 42)
Cf. Silparatna,
.

( !)

should be of the

size of a
1

Ch. 64,

vs. 60-110.

Memoirs

of the Archaeological

Survey of India, V,

3, pp. 22-25.

INTRODUCTION
Together

15

with prama^a and Ksaya and vfddhi,

of modelling

the

knowledge

known
(^ft^t)

shading (varttana) was fully It is stated to be to the Indian masters of old.

or
l
:

threefold

(1)

patraja
(3)

(iRWr)

cross

lines,

(2)

airika

stumping and

vinduja (f^P^r)

dots (Ch. 41).

How much
stood.

observation and technical experience is needed to state their results in such clear terms will be under-

Yet

"

whatever the

artist

represents

he

should

avoid placing one figure in front of another" (Ch. 43). Once more, one notices the same counteraction of abstraction and observation as in the case

landscape painting. hsaya and vrddhi would have logical employment But the Indian artist cherishes implied oversecting.
of

of

every

single

form

as

whole,

as containing all he has

to express

and as containing the whole of nature. So he cannot bring himself to cover and hide one of its parts.

employment of colour, we have the following information from the Vishijudharmottara and other sources.

As

for the

Five primary colours consist of white, yellow, black, blue, and colour of the myrobalan according to our text (Ch. 40),
or white, red, yellow, black, green,

according to our text

(Ch. 27) and the Natyasastra

syama

white, red, yellow, soot and (dark, blue or black) according to the Silparatna. The
;

Abhilashitartha Chintamaiji (MS.

12

ct.,

Mysore

library)

knows

as

pure colours,

white made of conch-shell, red

(prepared from red lead or from alaktaka juice, i.e., lac, or from red chalk g airika) green-brown (haritala),
,

i.e.,

sulphuretted arsenic,
2

and black from kajjvala

(soot,

used as eyeblack).

photo taken before restoration of

one of the female figures painted on the

rock of Sigiriya shows the various manners of shading.

Samyutta-Nikaya, Part III,

dyes or colours

attention to an important passage in the where the Buddha has incidentally mentioned the following vegetable substances used by the dyers or painters for preparing
Prof.
p. 152,
;

B. M.

Barua draws our

(1)

resin (raj ana), lac (lakha), turmeric (balidda),

indigo

(nil!),

and madder

(mafijetthl).

16

INTRODUCTION
The miximg
of

these colours
coat
:

is

left

to the
lac

of

the artist.

He may
red

them with

and

resin.

Colouring substances are

coloured brass,

gold, silver, copper, mica, deep

lead, vermilion, tin, yellow orpimenit,

lac,

yellow niyrobalani,
oxide.

Prescriptions

indigo and some kind of iron for the preparation of these

1

vegetable and mineral colours are giveru in the Silparatna. Red chalk for instance ought to be ground on stone

and

left

covered

with

water

for

day,

red lead also

ought to be ground and covered with water for half a day, red arsenic, however, should be made into powder but
it

should not be

covered

with water.

Then

the colours

should be ground once more and agaiiu put into water Afterwards they should be mixed with for five days.
the exudation
of

the

Nimba

tree,

then

at last they are

ready to be applied on walls and in pictures. should be divided into finest Gold-leaf
;

leaflets,

and

then ground with a well smoothed stone afterwards with water and with a small amount it has to be mixed
of sanid.

When

this

paste

is

well

ground

it

should

again be put into water, so that all dirt may rise to The gold paste should them be pressed, the surface. with vajralepa and applied with suitable brushes. mixed

There were nine brushes for every colour. When dry, the artist should rub it slowly with a boar-tusk until it becomes
bright.
leaves

Then again he may place over this very and rub them with hard cotton. The same
to be found in the
to the preparation

fine gold

prescrip/

tion

is

Abhilashitartha*ChimtamanL/
of the ground, buffalo-skin has to
it

As

be boiled in water until

becomes

soft like butter.

water then has to evaporate and sticks have to the paste and dried in the sunshine. This hard plaster

The be made of
is

Silparatna, Ch. 46, vs. 119.-130.

C/,

'

K. P. Jayasw&l,

A Hindu

Text on Painting, Modern Review,

XXXHI,

p. 734,

INTRODUCTION
called
1

17
a

vajralepa.
it

If

then

boiled in

mud
it

vessel with
it is

water,

will

make any
with

colour

fast

with which
has
to

mixed.
as

If

mixed

white mud,

be used

coating for the wall, in three layers, each layer being allowed to dry before the application of the next. On this the painting may be applied. 2 Previous to
the

has to process of vajralepa coatings, the wall burnt conches receive a thick coating, consisting of bricks, and the like, powdered according to the Silparatna, and

mixed with sand, the watery preparation of molasses, and drops of the decoction) of mudga (phaseolus munga,
amounting to a fourth part of the mortar powder. Into this, smashed ripe banana fruits have to be put, also a fourth part of the amount of the mortar.

mung

pulse)

After three months,

be ground again.
molasses-water,

when this mixture has dried up, it shall Then it must be mixed once more with
it

until

gets

the touch
to

of

fresh butter.

In this

wall with a stage it should be applied spoon, the wall having been cleansed with cocoanut fibres and been sprinkled for some time with molasses-

the

process by which the wall is 8 made ready for the drawing and the application of colours. The outlines ought to be drawn in yellow and red

water.

having This

is

the twofold

colour

as

a rule.
size

"

The
the

painter

should

think

of

the

proportionate
of
it

of

having been put marking its size im his mind, he should draw the outline should be bright in prominent places It all the limbs. and dark in depressed places. It may be drawn in a
as
single
colour,

thing to be painted, and think on the wall. Then calculating

where comparative distinction

are

is

required.
jet

If depressed

places

required

to

be bright,

black

1 For the preparation of Vajralepa see Brhat Samhita, Ch. 57, Abhilashitartha 131-133. Chintamani, verse 86 and following, and Silparatna, vs. For the preparation of the wall underneath the Vajralepa cover. Cf. and Silparatna, verses 41-42. Visb 9 udharmottara, Part IE, Oh. 40, vs. 1 onwards 8 Abhilashltftrtha Chintamani, p, 60.

\S

INTRODUCTION
l

phould be used/'
is

The modelling capacity

in

of tfre outline

also

described

the

VrddhasSlabhanjikS.

This

outline

has to be
is

as a rule,
also

with the first colour wash, which, but according to the VishflLudharraottara white,
filled

may

be green.

is

colouring of things seen, says the Vishnudharmottara, on* the nature. Great emphasis is laid true to

The

thousandfold mixtures of colours

of the artist,

left to the imagination and on the light and dark shade of every The range of colours must have been wide enough tone. with subtlety the local colour of objects. to render

The

different

tribes

and
to

castes

of

India
to

are

thus

distinguished

as

dark,

when belonging
Panchalas,

the Pulindas

and people

of

the

South,

Surasenas and

Angus, Vaftgas and Kalingas, to Sudras, Magadhas, to sick men and to family men engaged in toilsome and the Valhikas work. Sakas, Yavanas, Pallavas
to

should be predominantly white, and so are the twiceborn and the Ksatriyas, kings and prosperous people. Those who are oppressed by evil stars are of dark colour.

And
tive

it

is

also

clear

that

evil-doers ought

to

be

of

dark complexion.
adrshta hold their

The

colour

thus has partly descrip-

and partly suggestive

inito

significance.

The dfshta and

amalgamated
obtrusively

sway; symbol and illustration are an expressive language, keenly alive

that are on a small scale,
to

to all those visual impressions

finite,

and

seem

carry

their

expanded within their outlines, as local colour.

ambiguity of the colour in

meaning But this

its suggestive and descriptive was clearly kept apart. Taken in a naturalfaculty istic and descriptive sense, the sky or the atmosphere

has to be painted as almost The sky, on the other hand,

1

without any special colour. 2

is

of

the colour of the blue

Part in, Ch. 27.

Part III, Ch. 42,

C/.

NatyaSastra.

INTRODUCTION
lotus

19
if

and wears a garment

as a statue,
its

whem

hands.

represented should carry the sun and the moon* in Colour symbolism underlies not only the paintit

of that colour,

ing of statues which, according to their Sdttuika, rajasika and tdmasika aspects, had to be painted white, red or dark,

but was respectively selected for rasa-chitras the pictures of emotions, which, according to the Silparatna, formed
,

by themselves, distinct from the realistic paintings that were resembling what is actually seen in nature and
a group

looked

like a

reflex

in

a
its

mirror.

Each

rasa (emotion)

had

to

be

painted in
of

expressive colour,

the Srngara

(erotic)

was

syama hue,

the

white colour, the pathetic (karuna)

white colour,

laugh-exciting (h&sa) of of grey colour, the

furious (rudra) of red colour, the heroic (vira) of yellowish

tho fearful (bhayanaka) of black colour, the supernatural and amazing of yellow colour and the repulsive
(loathsome, vlbhatsa) of blue colour.
3

The expressionism
mental attitude and
of

emotions.

temperawith the wide range Yet side by side with it, colour in its
is

of

colours

visualizes

concerned

descriptive
It

quality

was made use

of

to

large extent.
of,
its

was not only known as local colour, distinctive and unchanging with, the various objects, but also
due
to

modifications
considered.
..

iny curiosity (runs) high, and Vajra said I wish to hear (more) about the true and untrue colours
:

"

light

and

surroundings

were

of water,

untrue colour
It
is

mentioned by you. Markandeya replied The of water resembles that of lapis lazuli.
:

the

effect

of

the

reflexion
of

of
is

the

sky
4

in

water.

But the natural colour

water

seen

in the falling

down

of water-falls; it resembles

moonlight/'
1-2.

Part III, Ch. 62, verses

2
*

Silparatna, verses 145-147.

Natyasastra, Ch. VI, verses 42-43. Vishnudharmottara, Ch. 52, verses 10-12,

20

INTRODUCTION
The
abstract

and the
poles

realistic vision,

which, as a rule,
art,

we

hold apart as

in

the

evolution of

isolated

from one another by gradual steps of development or by the sudden gap of reaction, are but the two sides of Indian art, contemporary and organic, for the obverse
is

turned towards that which

in
its

lies

outside,

changeable

alluring the reverse

faces

variety and provoking observation, whilst the withini, essentially unchangeable,

stirred

because continually
justice to

up by emotions,
is

of

which

chetana, the life-movement,

the

common
'

source.

To do

them a language of symbols comprises colours and measurements in solemn hierarchy. la b>c

After having dealt with the theory of painting, the Chs. 44-85, proceeds giving directions Vishnudharmottara, how to make images of various deities, more than eighty
in ruumber.
18

The purpose
may be

of these
the

images
for

is

to

have the
also for

The Vishnudharmottara
which either
of

declares

rules

painting as valid
(Ch. 43)
;

sculpture,

hollow or massive

worth noticing as

an example
over.

Hollow

hollow sculpture is the use of skin, coated with clay and painted figures must have stood amongst other places also on the stage,

where images of gods, demons, yakshas, elephants, horses, doer and birds were to be

made
16

of clay, wood, cloth, leather or iron (Ch.

'27, v.

3).

The commentary

to

the

Kamasutra by Yasodhara when speaking about the

i.e.,

Sadangti, the six limbs of painting,

rupa-bheda,

prarnanam, bhftva, lavanyaview (with reference to

of

yojanam, sadreya and varnika-bhanga

rendering, of

refers to the categories of type, proportion,

mood
to

(rasa)

embodiment
of

of grace,

point of

sthSnam and

the preparation

colours
;

(cf.

Coomaraswamy, History

Indian

and Indones. Art, German edition,

Vishnudharmottara.
l *

p. 99)

all

these categories are dealt with by the

Since the publication of the first edition a number of passsages referring to painting have been added to our notice. The following deserves special mention Qam;

yuttanikaya, P. Ill, p. 152, v. 11, where paintings of male and female figures on wooden boards, walls and on cloth are discussed. This is the earliest known reference to

wooden boards and on cloth. Another interesting quofrom Buddhaghosha's commentary to Vinaya Bikkhu Pachittya XXVI throws " light on the reason why Buddha objected to the representation of figures The
*

wall-painting, *ad painting on

lioa

objection

was

raised because the

Mera Laludayi,
it

after
of

made

various objectionable representations in

having dyed a yellow garment, male and female figures in the act

"(references made by Prof. Dr. B. M. Barua). This text also shows that not only were paintings made on cloth, but cloth itself was dyed so as to be
of dalliance

decorated with figures, a technique for which

much

later

Masulipatam

in S. India

became famous.

INTEODUCTION
deity near
it;

20a

by

(cf. p.

31 and

p. 65) to

be in actual contact with

the images thus actually have become mingled with the Bupnath and other men," as it had been declared by

"

rock inscriptions of Asoka, about a millennium before our 1 text was compiled. Out of the pantheon, leaving aside the
avatars
in
their
of

Vishnu and

his

aspects

as

Brahma and

Siva

respective

varieties including

the corresponding

goddesses, prescriptions for the making of images of deities scarcely known at present as actual sculptures demand attention.

gods,
of

The Nasatyas, for instance (p. 72), physicians of the the Manus (p. 92), the Maruts (p. 95), the images
(p.

Artha

96),

of

the

(p. 98), are personifications of a

Samaveda, and of the Rgveda most variegated nature.

Beside these, however another group of "visualisations" is of no small importance. Directions are given with regard to the making of Lingam, Vyoman and Aiduka. Whereas

symbol is widely used, the more complex forms of Vyoman and Aiduka (pp. 100, 108) are unknown hitherto as actual objects of worship. Both of them seem to be the
the
first

remnants

of

an aniconic
of

cult,

the plastic equivalent

to

some degree,
strongly

the

contrasts with

Their geometry graphic yantras. the florid features of the anthro-

pomorphic forms. Yet a connection is established, between them, the yantra and the anthropomorphic image, by the minute description of the lotus (p. 66), on which the
worship of the gods should be performed. This lotus Metal is should be of metal or some other material.

mentioned in the
of

first

place

on account
the

of the possibility

minute execution allowing

the

for a precise description

with

regard to

number

of

petals,

distance

between

pericarp and petals and so forth. It is said that by worshipping Aiduka, the worship
of

this world should

1

be regarded as

accomplished.

The
:

" Tho*e gods who during that time had been unmingled (with men) in B. P, Chanda Jambudvipa, have now been made (by me) mingled with them.'* C/.

The

3d, p..21. Beginnings of Art in Eastern India, Memoir, A.S,Q.T.M.,

206

INTBODUCTION
of

form

Aiduka consists of a combination of various stereometrical figures, the Liiigam and the figures of the
It is a

four lokapalas.

complex rendering
the

of

the

Lingam
world

"by
should

worshipping which"
be
' '

adoration of

the

of the as) (regarded accomplished and Vyoman by the worship of which the worship of the world should be (regarded as) accomplished 55 too (pp. 99,

100).

Vyoman

(the

upper regions) consists of cubical and

spheroid parts on which is established aiu eight-petalled lotus with the Sun god in the centre, and the Dikpalas in
their proper places.

nature of the lotus pedestal is yamtra-like suggested by the lotus shape which yantra and mandala Its as linear representations take. character yantric is pronounced by the Vish^udharmottara moreover, (p. 67)
stating

The

that

"that god only and no other should be

by contemplating whom in mind, The lotus therefore is no mere pedestal.
lotus,

worshipped om the
it

was
is

set

up."

It

magically linked
of

similar magic can be

up with the image it carries. A assumed as connecting the various

stereometric
of
all

parts

Vyoman and

Ai(Juka not only, but

bhadrapithas that serve as pedestals to the images along with the lotus, and serve as plinths with or without lotus profiles to mediaeval Indian temples.
the

The temple
connections.

builder

and the image maker were working

of

on the same foundation of a magical suggestiveness

formto

But
as

the
far

rules

valid

for both,

apply
are

painting too,

as

they can be applied there.

The
valid

prescriptions translated in the following pages for images as well as for book illustrations.

This

common

basis

of

architecture,

sculpture

and

painting it was shown that it primarily underlies dancing at times is responsible for a fusion) of the various
disciplines
of

sculpture

arud

painting,
is

for

desperate

attempt

of visualizing

what perhaps

beyond visualisation,

INTRODUCTION
Says
the
of

20c

Vishnudharmottara
Hari-visvarupa
(p.

with
107),

regard

to

the

the according to the By capacity of the artist that god should be made.... of painting one should show according to the rules way of the Sastras the whole aggregate of the three worlds

image

attached
to render

to

his body.

This prescription! in

its

endeavour

a concrete, tangible and visible contrast to a prescription like the form stands in glaring one about the making of the image of Vyoman. Two

abstractions in

utterly different trends of mind,

tions, are placed side

two utterly

different tradi-

and intermingle in this treatise on image-making. It stores up old heritage and the practice of the day and at times proves that both are older than its

by

side

words,
cally

that

cannot

avoid

at times interpreting scholasti-

what imagination and representation had achieved

spontaneously. It speaks for instance about the mottled skin of the black antelope, explaining its contrasting colours because all sacrifice is propagated by work white and not

white (pious and impious). Nevertheless such doctrinary scholasticism does not detract much from the value of this
treatise.
It is

common
of

to all ecclesiastic literature

on

art.

For most
(c/.

also p. 33).

the images definite colours are prescribed Nevertheless no trace of colour is to be

found on
the

stone images after the Gupta period. Probably referred to representations of gods as book colouring

illustrations

About the form

made
if

(p.

and in pictures onLj^. j of worship once only an allusion is " 102) with regard to the image of Dharma. Only
is

anyone

(into

accompanied by his wife and then is initiated the mysteries of Dharma) then Dharma should be

This reference to the Dharma (regarded as) established." corroborates the dating of the treacult, exclusively made,
tise as

belonging to the seventh century approximately, when the cult of dharma, being new, deserved special mention. No allusion is made to any form of the other
well-established cults.

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CANON OP PROPOKTIONS

TRANSLATION
BULBS OF PAINTING

TRANSLATION
1.

Part III, Ch.

:

2,

Verses 1-9.
speak to

Vajra said
the

(Oh)

sinless (one),

me

about

making

of images of deities, so

that

(the Deity)

may

remain

always close by and in accordance with the Sastras.

:

may

have an appearance

(Oh) Lord of mem, he who does not Marka4eya said know properly the rules of chitra can, by no means,
l

be able to discern the characteristics of images. (Oh) propagator of the race Vajra said
:

of

Bhrgu,

be pleased to narrate the rules of painting, as he who knows the rules of painting, alone knows its characteristics
in words.

Markancjeya
art

said

Without

knowledge
are
(this)

of

the

of

dancing,

the

rules of

painting
of

very

difficult

to be understood.

Hence no work

earth,

(oh)

king, should be done even with the help of these two, (for something more has to be known).
of Please speak to me about the art Vajra said dancing and the rules of painting you will tell me (afterwards) for, (oh) twice-born one, the rules of the art
:

of

dancing imply (those

of) the art of painting.

Markandeya
to

said

The

practice of (dancing) is difficult

is

be

understood by

one who

not

acquainted with

music.

Without music dancing cannot exist at all. You are conversant with dharma, tell Vajra said me (first) about music and (then) you will speak about
:

the

art of

dancing (because) when

(the

former)

is

well

Chitra,

i.e.,

sculpture in the round, relief and painting. Cf.

Ch. 46, Silparatna

apd

K P
r

Jayaswal, a Hindu Text on Painting, Mod. Review,

VgU XJCXJU,

32

TRANSLATION
best of the Bhrgus,
(a

known, (oh)
too.

man) knows dancing

Markancjeya said
understood.

He who knows
:

Without singing music cannot be the rules of singing knows

everything properly.

(Oh) best of those who support dharma, please speak to me about the art of singing, as he who knows the art of singing is the best of men and knows

Vajra said

everything*

2.

Part III, Ch. 27, Verses 7-26.

you about the prepa(Oh) best
of

(Oh) king, I shall now speak to of the principal colours. ration

there are five principal
(rakta), yellow
(pita),

kings,

colours,

viz.,

white

(sveta),

red

and green (harit). It would be impossible to enumerate the mixed colours in this world (which are produced by) the mixture of two or three (primary colours) and through invention of variblack
(krshna)

ous states

or

conditions

(i.e.,

shades

or

tones).

(Oh)

you about the divieion of dark (sySma) and white (gaura), which is due to the great suitability for getting mixed, of different colours of this world, from which the twofold colour of all is
best of kings,
I shall speak to

now

explained

(i.e.,

Among
Bright

the light and dark shade of every colour). these (colours), the white (i.e., the light shade)
five

should be of

kinds

and the dark

(white),

of

twelve

kinds.

(gold), light

tooth- white,

pure-sandalthese
(light

white, autumn-cloud-white and autumn-moon-white five traditionally are called the fivefold white
shade).

(The varieties of syftma) should

be

reddish-dark,

mudga
>

(brownish) dark,

dttrvft

sprout (greenish)
of

dark

and

Here follows a lengthy account

III. Ch.
SJ7,

of the art

singing, its history

and origin

TRANSLATION
grayish dark too, (oh) king, tawny dark and Priyawgw-creeper dark and monkey dark.
blue-lotus
(nll6tpala)

33

topaz

dark,

Then come
nllakantha

dark and blue

as

the

and purple-lotus (rakt6tpala) dark and cloud-dark. Their application is said to be in accordance with the
bird

colours

of

(the

respective)

objects

and

they

gaio

in

beauty by intermixture of colours. Having ascertained with precision the colours of

I

deities,
all

shall

speak

now
I

about
l

them.

Among them,

those of

whom

shall

Vasuki painted white. the nag as should be white in the

the
the
colour of

not say anything, should be should be of syama (colour),

dvapara

(age),

and

daityas, dinavas, rdkshasas, gnhyakas, pisachas are of

unglowPeople in the six islands should be of ing by golden colour in the continent of JambudvTpa, excepting In Bharata, one only, (namely), Bharata, (oh) king.
(lit.

water,

without

any

glow

colour).

(people)

born

in

many

countries
of

should

be
are

painted.

mostly people dark by colour, (while) the Sakas, Yavanas, Pallavas and those who are the Valkikas born in Uttarapatka should Surasenas and white be predominantly Panchalas,
;

Pulindas

and the

the

Deccan

those

who

are

of

are mostly dark.

Variga and Kalinga Twice-born (ones) should be painted of

Magadha, Anga,

the colour of the mooni and the Kshatriyas of the colour of the padma (white lotus). Vaisyas again should be (only)
slightly
light

in

colour,

and

Sudras dark.

Gandkarvas

and Apsaras are traditionally said to be and were (actually Kings and prosperous people painted) in many colours.
are of the colour of the

those

who

are

padma. oppressed by
and
all

The
evil

sick,

the evil-doers,
or

stars,

have

taken

shelter in penance,

family

men engaged

in toilsome

work should

also be dark.

Naga

king.

34

TRANSLATION
The

colour of things seen, should be painted resembling (their natural colouring).

3.

Part III, Ch. 35, Verses 1-18.

:

Markaiideya said
(oh)
sinless
(one),

Henceforth
the

I shall

speak to
chitra.

you,

about

rules

of

While

creating Urvasi in days of yore, the rules of chitra (were evolved) by the sage Narayana, (oh) son of the king, for

the good

of

the

world.

The

great

sage
1

for

the
1

divine
Part
as

damsels
(

(already)
Va>ra said

mentioned,
:

deceiving created the

bom
and

I,

Ch. 12 J,
a

verses 1-19

Tel]

me how

Urvasi -was

chose

husband

human

King of the lunar race.

Maikandeya

sajd

The

two sages Nara and Narftyana (of whom I had) spoken before, were Sadhyas, sons of Dliarma, and these two, who were formerly kings, oh descendant of Yadu, were very powerful, being partial incarnations of Vishnu and were always engaged in penance.
the winter,

Their hermitage, charming, "

full of

fragrant tiees, auspicious with mild coolness of

of

was

called

the hermitage

Vadan."

There

flowed

the

Ganges
full
all

carrying

its

warm waters
witb
fruits.

cooled and looking charming with

gold

and

garlands of

pebbles and
of flowers

gold-sand.

There was the Yadari, enchanting

good
of
all

and always
the lords of

and

For

the

mankind,

they

two,

people were engaged

sages.
of

among penances While they were thus engaged in piactising penance?, apsarasas born Manu, determined to cause hit drance to their penance, arrived there,
there,

in severe

they (-who

were) like tigers

flowers

wearing various ornaments Koaming amorously and at pleasure and culling all with eyes like those of the young deer, were seen by Nara} ana, they
who, the best as he was of those versed
in the Veda, could easily discern their had conquered anger and the god of love, possessed of great lustre, and versed in religion and (in the proper employment of) wealth, taking the juice of a mango tree, which excites amour, created the auspicious nymph

purpose.

He who

with charming limbs by painting her on his thigh.

created out of the thigh through painting,
large eyes.

was

in

that very

The damsel, beautifully drawn, moment endowed with

no r/agfa-damsel, no shame.
to see

No

goddess, no gandharvi, no wife of an atura and

woman
King
that

like

her was (to be found) in the three worlds, like that beautiful maiden.
her,
all

Having seen

the
all

ten apsarasas born

in detail

of

Manu, went away

in

JL'urandara heard

this

and driven by curiosity he came

that

Vadan hermitage. The thunder-bearing god bowed at Sadhyas who were always (devoted to) religion and saw
Then
the lord
:

the feet of those two

(damsel)

with
to

auspicious limbs like another goddess Sri.

Sadhya smilingly said

one knowing religion, this (damsel) born of thigh (uru) should be Narayana Urvasi. Take her to heaven, she will be the most auspicious of the apsarasas.

"Oh

Being thus addressed, he was delighted and then, duly saluting the two sages, took to heaven that goddess with eyes like those of the young deer.

TRANSLATION

35

most beautiful woman, taking the juice of the mango tree. By means of (the art of cMtra) she was endowed with a
beautiful
all

form and became the best apsard. Seeing her the celestial nymphs went away struck with shame.

The great sage having thus created (the art of) chitra, made Visvakarma with its the immovable rules,
apprehend it. In dancing
three
as well
as

in

chitra the imitation of the

tradition.

The eyes and enjoined by their expressions, the limbs and their parts all over and the hands have to be treated, (oh) best of kings, as aforesaid
worlds
is

in dance.

They should be the same

considered
as

in chitra.

chitra are

(equally) excellent.

Dancing and Hence I am

going

to speak

ing was said (to Five types of men should be known, viz.,

about that by which measurement in dancbe regulated). (But now please) listen
:

Hamsa, Bhadra,

Malavya, Euchaka and Sasaka. I shall speak about their 1 characteristics now. Equal in height and breadth, they are all to be known from (their respective) measurements.
(Oh) king, the measurement increased by 8, according
of a to

Hamsa

is

100 angulas,
of his

the

measure

own

angula

Bhadra

has only

six angulas
is

hundred).

Then

(oh)

king, a Malavya

more (than a 4 angulas more

(than a hundred).

hundred

is

said to

be the (measure-

ment)

of a

The The height

angulas
ment).

Kuchaka, and 10 angulas less of a Sasaka. space covered by 12 angulas is called a

of the feet

tdla.

up

to the

ankles

is

said to be three
(in

and

the

legs

are

two
are

tolas

measure-

The knees
as
is

(in length)

equal to the feet, the

the navel to the penis
(holds

thighs as long
the

the

legs.
tola.

From
the

measure
from

one

The same measurement

heart

good)

the

navel

to

and from the heart

i.e.,

the length of the body

the tip

is

equal to

the length across the chest along the

outstretched arms from

of the right

middle finger to that of the

left

th<

proportion remains the same in every case.

36
to the

TRANSLATION
throat.
face,

The
tola.
(lit.

throat

should

be one-third of a

and the
root of
to

one

The

distance from the crown to the

between head and forehead) is said In the middle (of the entire be one-sixth of a tala.
the hair

length of
length.

the

figure) is

the penis.

Thus

is

explained the

The hand,
arms
arms
(above
(just) as

(oh)

king,

(is)

said to be a tola (long), the

the elbow)

much.

angulas and the foreHalf of the chest is 8 angulas broad.

seventeen

(Oh) king, thus has been described to you the of a Hamsa according to breadth.

measurement

(An
in

artist)

should

infer
this.

(the

measurements) of others
all

accordance

with

In

cases
is

the proportion
constant,

between
lord
of

breadth

and
as
.

circumference

oh

men

(lit.

regards

breadth and circumference

The measurement of a Hamsa king they are all equal) has been told by me in outline, (oh) best of kings. (Oh) lion among kings, listen to the measurements in detail
of

each part of the limb to be told by me.

4.

Part III, Ch. 36.

Markandeya
width.

said

The head measures 12 angulas

in

The forehead measures 8 angulas and has an elevaThe temples measure 4 angtilas, their tion of 4 angulas. 2 angulas. elevation The cheeks measure 5 being The ears angulas (in length), and the chin 4 angulas.
angulas, their height being 4 angulas. The middle of the ear measures 1 angula. The nose measures 4 angulas, the elevation of its top

(measure)

being

2
are

angulas,

the

breadth

The angula long and middle part between the nose and the (upper) lip, measures half an angula, the (upper) lip one angula and the mouth 4
wings
one
angulas (in breadth).

The angulas. twice as high.

nose

The lower

lip is

one angula and

(the

TBANSLATION
lower half
of)

3t

the chin

40

teeth, half of

two angulas. (There should be) an angula long, of which eight should be
of

large
is

teeth,

^th
orb

an angula in elevation

a large tooth

one angula broad.

black
is

The eyes
of

are three angulas Jong.

The
and

%rd

the

eye
are

and the (width

three angulas

of)

the pupils -fth.

The eye-brows
wide

long

^
is

an

angula

and
the
to)

the

distance between the

two

two angulas.
wide

From
amounts
21
the

end^of the eyes to the ear-

holes (the distance

4 angulas.
in
is

The neck

is

10

angulas
distance

and

angulas
nipples

circumference.

The

between

16

between the clavicles 6 angulas. The the arm round the shoulder joint

angulas and that circumference of

is
;

palm
broad,

of

the

hand
whole

the

16 angulas the is 7 angulas long, and 5 angulas hand being 12 of the length
finger
is

angulas.
length.

The middle The forefinger

of

measures

shorter
finger

than

that

the middle
little

by the and the ring finger

is)

angulas in frontmost part

is

similar.

The

finger

(again

shorter by the Trout-

most part than the ring finger. All have three knots The nails are the same distance from one another. at
half

the

length

of

(the

distance

between)

the

knots.

The The
navel

thumb has
is

only 2 knots and circumference of the abdomen

measures 3 angulas. is 42 angulas. The

to be

one

angula
(all)

according

to the information

gathered
hip
is

from
18

known
and
its

sources.

The breadth
44

of the

angulas
are

circumference

angulas.
in circum-

The
that

scrotums

4 angulas wide.
is

As much

ference the

6 angulas long penis the thighs are four angulas.

is

from the middle of

The breadth

of

the

knees

twice as

many
of

The breadth
knee
is

angulas in expanse. the fore-part of the leg beneath the

;

thrice

of

that

(the

length being)

angulas

and the circumference 14 angulas. The (soles of the) the large feet are 12 angulas long and 6 angulas broad
;

38
toes is
is

TRANSLATION
3

angulas
to

long.

The
toe

toe

next

(to

the large one)

rest

similar

the

large

(in length)

and the

are

less (in length)

is

by
all

a fourth part

by an eighth part. The nail of the large toe narrower than the breadth of the toe.
next toe
is
is

The
of

nail of the

half

of

that,

(the measure)
;

other

nails
?) all

an eighth part

(less?) of that
is

(the

sum The

total of

the toes of the feet

8a%wZasinheight.

heel should be three aiigulas, its height being four.

is

This

the measurement of
the

Hamsa.

The measure-

ments

of

to be inferred

ini

remaining best inhabitants of the earth are accordance with reason, by following this

direction,

and consistent with their own (respective) meashould be

a

surements.

A Hamsa

strong,

with

arms

like

the

king of serpents, sweet eyes, with

of

with
a

nioont- white

beautiful

face

complexion, with and nice waist and

should
be high-

with swan-like movements.

souled,
like

A Bhadra
the
lotus,

the

colour

of

with

elephant-

step,

with a
1

hairy

forehead,

with
is

and
the

tapcringly

round arms.

Malavya

full-grown dark like

kidney-bean,
broad

of the

with a body very beautiful on account slender waist, with arms reaching up to the knees,
shoulders,

broad jaws and nose like that of an A Ruchaka is said to be elephant (i.e., very prominent). a truthful, high-sou led, strong, and clever figure with a

with

conch-hike neck and autumn-white complexion.''

is

A Sasaka
and
of a

said

to

be

clever

figure),

reddish-dark

slightly

variegated colour

with

full

cheeks and sweet eyes.

5.

Part
said

III, Ch. 37, Verses 1-17.

:

Markandeya

As there

are

five

types

of

men,

according to the measurement of the various limbs and their

1

Or, Muclga pulse. Because the moon

is

whitish io autumn, nights.

TEANSLATION
parts, so, (oh), best of
five

39
are

men,

it

must be noted that there

(Oh) lord of men, (each) woman types of women. should be placed near her man, Every one (of them should be made to reach the shoulders of the man (on her
side)

in

proportion.

The

waist

of

woman

should

be

made 2 angulas thinner than that of a man. The hip (on the other hand) should be made wider, (by adding) The breasts should be made, (oh) king, 4 angulas.
charming
the chest.
All

and

proportionate

to

the

measurement

of

kings should be (made)

endowed with the marks

mahapurushas and all sovereign rulers should be (made) And a circle of hair should with webbed hands and feet. On the be drawn auspiciously between their eyebrows. hands of kings should certainly be drawn three beautiful
of

auspicious

lines

slenderly

curving

and

resembling

the

scratches (made) by a hare.

The

hair

should

be

represented

auspicious,
its

Jine,

resembling the deep blue sapphire, adorned by with the undulation of that greasiness and
1

own

essential

requisite.

(The

different) classes of hair

(loose)
(3)

are

the

follow-

ing

(1)

Kuntala,

hair,

(2)

Daksinftvarta,

curled

towards the right,

(mane-like),
(5)

Taranga (wavy), (4) Simhakesara Vardhara (parted), and (0) Jatatasara

of the

(matted).

An
the

eye should be
of a fish,

form

of

bow

or

(like)

abdomen
is

or like a petal

of the

blue

lotus

(utpala), or of

the
to

white
be
a

great king,

said

(padma), a fifth, (oh) of the form of a grindstone. 2

lotus

An

eye of the

form of

bow

should

belong to

womem

For anga m the sense of essential requisite, cf. Raghuvamsa 4.59 and 3.46. Three words are used in three places (1) Pan a, (2) sasa, (3) Rra, i.e., grindSasa and Sara do not yield any sense stone, hare, deer. Sana may be read in all
1

three cases.

40
(in general)

TKANSLATION
.

by the name

eye of 4 yavas of fish-abdomen. A

An

(in

width)

is

called

traditionally said to be 6 yavas

petal eye is 9 yavas in

is blue-lotus-petal-eye and a red- or white-lotus-

measurement.

So an eye

of the

The measure shape of a grindstone should be 10 yavas. should be calculated a yava of to proportionate
the

measurement

of

an

angula,

which

has

its

owni

standard.

The eye assumes

the ground in

the shape of a

bow when looking

of the

at

meditation.

(An eye)

form

of

fish-abdomen should be

and

lovers.

An

painted (in the case) of women eye of the shape of the blue-lotus-petal is
ever-calm.

said to be

of the

An

eye

of the

lotus-petal

and crying. An eye of grindstone shape is in its place with the angry and woe-stricken. Sages, ancestors (i.e., manes) and gods, (oh) lord of and with ornaments men, should be made glowing consistent with their own colour and outshining (lit.
shape
befits the frightened

robbing
(Oh)
devoid

the
of

splendour
kings,
lines

of

others
is

who
done

are

lustrous).

best

that

verily
is)

beautiful
as

and

of crooked

(which

aforesaid

with these
positions

measurements, suitable, unreproachable, in various rays of light (OT^T^f^FTOO on with

(appropriate)

them,
grounds,

within

surroundings

(lit.

fixed
artist's)

ferogffTCPVn)

by
has

the

exertion, of (the

owm

intellect, alter

he

carefully

considered

(every-

thing).
6.

Part III, Ch. 38, Verses 1-28.

said
:

MS.rka33.deya

The

eye

(becomes)

charming
gentle

(when
anid

it

is)

like

the

blue-lotus-petal
pupils,

(utpalapatrabha),
smiling,
of

red at the corners and with black

ending in
of

long

eye-lashes,

(oh) best

men.

The

hands

gods, (oh) king, should be conducive to the welfare of the people (i.e., represented im a benevolent

TRANSLATION
attitude).

41-

eyes (should be) wide, with black pupils, adding beauty to the divine face, beautiful to look at, charming to the mind, smiling and with ends like those

The

of blue-lotus petals,

with eye-lashes bent

the white)

at the ends, of

equal size, gentle and (with cow's milk.

of the

colour

of

The
(it

face beautiful

all

over should be

fully

developed

should be) well finished,

benignant,

marked
not

with

all

the auspicious

marks,

not

triangular and

crooked.

One who wishes good to the people should discard (a too profuse employment of) large circles, triangles and other (Oh) perpe(geometrical shapes) when representing gods. tuator of the Yadu race, the gods should be represented
according
hairs
to

the

Hamsa-ineasure.

They
only
;

should
their

have

on

their eye-lashes

and eye-brows
entirely

(however)

should
in

be

devoid

of hairs.

body Those

who
eyes,

live

heaven
like

have

always
of

and

look

(youths)

smiling faces and the age of sixteen.

auspicious
strings

They
of

should

be

crownB, earrings, ornaments of the upper arm, long necklaces, bracelets, girdles reaching up to the ornaments on the feet, and sacred threads with ornaments for the head. Their
garlands
shoulders should be broad.

and

drawn wearing ornamented by

(Oh) tiger among men, they should be represented with beautiful loin-cloth on the the right knee (however) left, reaching below the knee;
should be shown.

The
part

linen scarf
of their

which the
body
should

gods
(also)

wear
be

round the

upper

executed beautifully.

The
the

halo

should be

drawn
of the

round
head

their heads, proportionate to the

measurement
(oh)

great king, should resemble the colour of the deity. In their case, an upward look, a downward look and also a sideward look

and

the

colour

of

halo-circle,

should be discarded.

The same

applies to a too small, to a

too big, to a depressed (looking), to an angry

6

and

to a

harsh

42
eye.
It
is

TRANSLATION
said

that

upward

look causes

death, downi-

ward look causes

sorrow,

sideward

look

causes loss
eyes
eyes,

of

wealth, too small eyes cause death, too large sorrow and so do the depressed (looking)
best
of kings.

cause
(oh)

harsh look causes

tear.

loss of

wealth and

(The image of a deity) should not be dome with either shrunk or inflated abdomen
angry
or

an

look

causes

with wounids
race.
(It

Yadu

the body, oh) perpetuator of the should not be) bent, of a rough colour,
(on

with an open mouth, or with limbs short of or exceeding (appropriate) measurement, (oh) descendant of the Yadus.
(It

should not

fall)

short

of

or

exceed

(the

prescribed)

measurement,
is

(oh) ruler of the earth.

shrunk abdomen

conducive only to starvation and fear, and inflated abdomen causes death. A body with wounds causes death, one
that
is

too short

brings

about

loss

of wealth,

one

too

long creates sorrow, and one with rough A halo in the east causes loss fear.
the south death,
the north fear the head).

colour
of

induces
in

wealth,

im the west destruction of sons,

(i.e., it

and in
round
to

ought
short

to

be

behind

and

nimbus

of

measurement
appropriate

leads

destruction and one

exceeding
to the

the

measure(image)
is

ment bespeaks ruin

said to cause death

country.

rough

and an angry

(one)

destroys

beauty.

Even when

(duly)

invoked by the best of Brahmins, the

gods never enter images short of (Gastric) measurements and devoid of the marks (lakshanas of divine form)
;

(but) demons, ghosts and hobgoblins always emter into them, and so a great care should be taken to avoid shortness measurements. of (An image) possessed of all the beautiful marks is said to be excellent from every point

adds to wealth, crops, fame and the length of life, yet when, devoid of (those) marks, it destroys wealth and crops, (oh) best of kings the gods always
of view.
It
;

should be

made

beautiful,

having gaits

(like

one of the

TBANSLATION
following) animals, (viz.,) the lion, the
bull,

43
the elephant

and the swan. Blessed is a work of art (endowed) with all (the Sastric) marks, (as it brings luck) to the country, to the king and the maker, (and is as the gods)
long for
it.

Am

image,

therefore,

should

be

properly
all

made by
Sa'stric)

all

men with

great care, (endowed) with

(the

marks.

7.

Fart III, Ch. 39, Verses 1-32.

There are nine positions of variegated colours, with Please listen to (all of) auspicious forms and gestures.

them
tion

in due order.
(lit.

The

first

should be the

straight

posi-

derived
is

from the straight, rjvagata, 5R*Rnwr);

the
non-straight
(anrju,
*sn2;3J);

the

second
a

then

with

comes
view

body (sachlkrtasarira, ^if^SRfr). Then (the position) with one eye (lit. with half eyes,
^nlf^rafcR);
after
side,

bent

ardhavilochana,
(lit.

that

comes the,

side-

derived

from

the

parsvagata,
position
(paravrtta,

Then comes
1

the

"cheek-turned"
back view,
;

trcrerr),

then the

(lit.

derived from the back,

prsthagata,

3VTTO)

and
2

(finally)
;

the

"turned
(the

round" position (parivrtta, trfTem) and then one which is) thoroughly bending (samanata, ^EWTIfl).
In;

painting
(lit.

(bhushite)

these

positions
to

with

many
are

transitions

distinctions) (from one

;

the

other)

now, (oh) king, hear from me, one by (altogether) one, (what is) the nature of each of them (and how) it

nine

comes into existence.

(1)

The pre-eminent
(of

position amongst those (mentioned)

in

the beginning

our enumeration)

has a beautiful

The The

text has

Purftvrtta,

copyist's

slip for Parflvrtta.

Cf,

verses 20-24.
Of. VB,

text

has

Purvrtta which must be changed

to Parivrtta.

44

TEANSLATION

1 called rju. appearance which is due to a (static) posture In this way it is accompanied by the various organs

of

sense

very

pleasing
distinct

body,
qualities
fine

well
of
(in

finished

and
and

accompanied
(i.e.,

by

measurement
execution)

well

proportioned),

very

shaded with ornamental display of light and shade, faces the spectator charming and adorned by very pure,
;

manifold lines and embellishments,

the

portions on the

back should be without foreshortening (lit. diminished 8 The front view, face, chest and abdomen should limbs).

remain unforeshortened (undiminished). (The figures), (oh) intelligent one, grow narrower (lit. have attained thinness) towards the waist from the thighs (as well) as
also
,

lips appear width (lit. a fourth foreshortened by a fourth part of their to decay) part of nosewings and lips has beem reduced and their limbs are foreshortened by a third part (of their

from the shoulders.

Their nose- wings and

breadth).
(3)

What
the

(looks)

charming,

due

to

the

attainment
over

of a curved posture (tiryak), well rounded, tender, all

(lit.

all

four parts
of
all

being)

slender

and

conducive

is called, oh king, bent, beauty on account of imitating the sky. (Its characteristics are :) Half of the eyes and of the forehead and also

to

(the

the limbs)

of the nose are

shown.

The eye

that

represents

the half
is

that remains

after division (i.e.,

is

the one eye that

to be

seen in profile)

foreshortened

(lit.

suppressed) by

artistic
(i.e.,

means and the eyebrow

foreshortened) and
is
is

is also artistically

suppressed
lines.

painted with gentle

The

face

neither straight nor irritating, neither black nor shady.

1

Read instead
i.e., in

of kantft rupatp,
all

ft

this

way

kuta rupaip. the organs of sense (the

2 eyes,

mouth, nose, ears)

are

visible.
8

i.e., tfee

back should be quite straight.

'
'

*'

The second

positicn

aurju

is

not- described;

it is

the reverse of the

first

one.

TRANSLATION
(4)

45

The

next
'

position

is

called
'

i.e.,

ardhavilochana

" adhyardhaksha The (with one eye).

:

"

One signs are as follows and have a specific character shown (in full), half of the eye in the face of the figure is
suppressed (i.e., one eyebrow is not to be The forehead and one eyebrow are visible (lit. the seen). only essential part of the rest of the face [that is] to be

eyebrows

is

seen

is

the curve of the forehead in half

of

its

usual

size

and

the

The next visible part is half eyebrow) of the cheek from one side only, while the other half is
curve
the
invisible

Half of the usual length suppressed). measure) of the lines on the throat and a yava only of
(lit.

(lit.

the

chin are showni.

The

navel,

one

angula

less

than the

opening of the mouth, and three quarters (lit. half and half of that half) of the waist and other (parts) should be shown.
(5)

That position occasionally

i.e.,

'

'

is

called

chhayagata
side is seen,

OSWTTri),

coming out
a

of the shade,

whose

either the right or the

left,

whose limbs and movements

different)

enter

into

quite

new

(lit.

constellation,

of

one eye only, one eyebrow, one temple, one ear and half of the chin and the hair should be (shown) and

whom

which

is

possessed of qualities like

sweetness,

proper proportion. side" (parsvagata, iflrafrnT). It should also be called the wall" (bhittika, ftfaw).
(6)

It is (also) called

" derived from the

"
:

grace,

and
on

This position

is

said to

be

"

turned back

by the
are not

cheek"
very
in

(gaijdaparavrtta,

tretncnCT)
it

whose limbs

sharply (delineated); has (proper) place and

has appropriate measurement

attained

called

"

dark

"

in forehead, cheek

k^aya (diminution) and arm and also iji

as

the throat,

(i.e.,

these

parts

are vaguely discernible,

1

(which is) artistically they are lying in the shade) and looks tender. foreshortened (lit. made slender)
1

Bead

instead of Kalakshtne, Kalakshtye (artistically slender).

46

TRANSLATION
(7)

called

In pictures and wall paintings, " " from the back derived

(that) is tradition-ally

(prsthagata)

which

reveals a bodily

frame attractive towards the back, with muscles and joints like those of Siva (Sarvajna) with a
side

tortuous frown,

only is corner of the eye are only faintly shown. of qualities like sweetness (madhurya) and

One very calm and pleasing to the eye. seen; the chest, (one) cheek and the outer
It
is

possessed
(lavanya)

grace

and has

appropriate) measurement. (8) (A figure) whose upper part of the body should be turning back and only half to be seen on account of its
(its

whose with a face tainted by envy, upper and lower portions of the body should be somewhat lost in shade towards the front, (while) the (lower) half (of
reversed position
the body) should be like
(is

that

of

rustic,

whose middle

drawn) properly foreshortened and agreeable to the eye, " " should be known as turned round (parivrtta) and
(the purpose of) upholding (?),
(oh) lord of
(9)

should be represented for

men.
is

But what

drawn with the buttocks

the
feet

in full

view,

with the soles

faintly seen

of

waist

from above, shown, with the two entire

joined, with half of the body with the part about the entire
soles

shown, with

fore-

shortened lower part of the toes, beautiful all round, well finished, not terrible-looking, with arms visible and head

and trunk well joined, and bent down towards the legs (lit. suppressed knvards a part of the legs) (is known)
by the

name

of Samaiiata (thoroughly bending)

8.

Part

III, Ch. 39, Verses 34-51.

These positions should be drawn

panied), by
qualities
like

with care

(accom-

mana

(proportionate
these
is

measurepositions

ment,

etc.).

(Oh)
all

blameless

one,

nine

are seen

in

conditions.

There

none besides and

TBANSLATION

47

I who have always moved around the superior to these. world, inhabited by creatures moveable and immoveable, the group of entirety (oh) sinless one, narrated in
three,
i.e.,

ksaya

(decrease),

vrddhi

(increase)

and

pramana (proportionate measurement). (These again are) chitra (simple) and viehitra (variegated) of two kinds
:

good measure, whether it (obtained by) proportionate be utt-ama (full), madhyama (middling) and adhama (small).
(the 'latter) again
result

is

of

three kinds

according to the

Now

to you by degrees the rule (to be and vrddhi (decrease and increase). observed) in ksaya This vrddhi as well as ksaya (being) without any (other)

shall

relate

name known
the body and

to the painters,
its

and having
is

(their)

origin in

various limbs,
(here)

said succinctly to be of

otherwise according to the manifoldness of the positions ((lit. of manifestathirteen varieties

(varies)
tion).

and

(The thirteen the back (prsthagata)

(rj\agata), then

positions

are)

visible

from

and

middle"

and half" (ardhardha), " quartered " " bent face (madhyardha) and the (sachlhalf

"

belonging

to

the

straight

"turned back by the krtamukha), "bent" (nata), " " " cheek derived from the back (gandaparavrtta), and
(prsthagata).

Then

should

be

knowm
as

the
also

"derived from ^the

as

side"

"

position

(parsvagata),

painted
(chalita)

going

and

upwards" "
with "

(ullepa),

and

"moving"
"
all

lastly

the

face

upwards

(uttana)

and
positheir

"turned round
names.
a series

(balita).
(lit.

(Oh)

tions are clearly indicated

king, should be

these

known) by

knee
(i.e.,

with the left (i.e., advanced and the right knee retracted), vaiffikha, with feet a span; apart). The legs again are straight
straight,

Herein the positions of the of motions like pratyalldha

feet (are varied)

by

or half
The

standing or moving.
interpolation.

The
first

positions of

thirteen positions are an

The

and

eighth

positions

are identical,

48

TBANSLATION
straight

the

and

nom- straight

legs

should be of two
is

kinds.

Thus the

position characterised by legs standing

traditionally

called

samapada

(straight-leg), (im

(while)

the

second

(type)

should be mandala

circular

motion).

Other positions than these are with one leg straight, varied and unsteady. Among these are vaisdkha (the feet being a spam apart), alii ha (the right knee advanced and the
left leg retracted),

and pratydlidha (the

those

left

knee advanced,
positions

the right
of

one retracted,
shield

being

(typical)

the

the
pike,

sword
a

bowmen). and
spear,

Uneven motion in curves

carriers.

characterises

Persons carrying a
a

(with

bamboo handle)
walk

stone javelin, a
difficulty

sting

and other instruments

leg

with

and

with one
wheel,
a

in
a

spear,
gallop.

atidha position. (Persons) who carry a club and a (steel) javelin walk (in

running away) of stout men is in some cases depicted with one leg in a straight position and with the other (placed in such a way that) the
a sort of)
flight
(lit.

The

wanton body should be (shown) with the neck stretched

forward.

The learned painter should paint

loins

a female figure

with one foot

hips and
dalliance.

calmly advanced, with the part about the broad and flurried, on account of amorous
figure

(proportionate measure) is bound to suffer in the opinion of the passing ages and their (varying) taste inclinations (lit. through
the force of

devoid

of

pramana

time and

sentiment).

Having
his

this in

mind,
a

proportionate
learned
artist

measurement

should be
of)

employed by

with (the help unison with ksaya and vrddhi.

own

intellect,

in

9.

Part III, Ch. 40, Verses 1-30.

Brick powder of three kinds has to be mixed with clay, one third part (in amount of the brick powder),

Having mixed

saffron with

oil,

(one) should

mix

(lit.

place)

TRANSLATION
(with
it)
1

49

gum

resin, bees'

wax,

liquorice,

molasses and

mudga preparation in equal parts. One-third part of burnt yellow-inyrobalan should be added therein. Finally the astringent made of the Bel-tree (Feronia elephantum)
destructive
.

(of

all

injurious

agenits)

mixed

in

pro-

portion of two to one should be added by an intelligent artist and also a portion of sand, proportionate to the

amount

of the whole.

Then
split

the artist should

pulse
dissolved
to

drench (this
in

mixture)

with

moist

water.

The whole

of this moist

preparation has
only.
(After)

safe place for one

month
still

kept in a the moisture has

be

evaporated within a monith,

(this)

skilful (artist) should

put

dried

(yet

damp)

plaster

on the

wall,

having

It should be plaim, carefully considered (everything). even, well distributed, without ridges or holes, neither

too thick

nor

too

thin.

Should
dry
(due

it

(look)

ill

done after

having become

(quite)

to shrinkage),

then

it

ought to be carefully smoothed by coatings of plaster (made) of that clay (as mentioned before) mixed With resin of the $ala-tree. (Shorea robnsta) and with oil. (It
is

further made) smooth by

(repeated)

anointing, constant

(Oh) lord, sprinkling with water and by careful polish. when this wall has promptly dried, it does not go to ruins anywhere even at the end of a hundred years.

By

this

means various

jewelled

floors

can be made of

In painting with variegated mixture in twofold colours. and smooth, an artist care on a wall, dry, brilliant
master, should begin his work on an with his face towards east, thinking of auspicious day, God, having worshipped and bowed down to Brahmins and

devoted

to

the

preceptors who know this (i.e., painting) well, uttering Svasti (Success !), clad in a white garment and restrained
in his soul.
1

Then

the learned artist should

most probably
is

draw

(outlines)
for

Phaseolus

munga. Muruka

mistake

mudgaka,

C/, Silparatna, Ch. 46.

50

TEANSLATION

with unoozimg black and white brushes ini due order and These then fix them oni the duly measured ground.
should be
filled

with
is

colours

in

appropriate
ini

places.

Green

as well as white

the

colour

general

(applied

as first coating ?).

(One) should show

of

that (very clearly).

(already)

The
has

characteristic

that

(i.e., of

the colours)
27,

been

described
are

in
said

detail to

(Ch.
five
:

verses

7-26).

Primary
colour of

colours

be

white, yellow,

the

the

myrobalan,
(But an
(lit.

black
are

and blue.
should

(Oh) best of
be

kings, intermediate

(colours)

traditionally said to

hundred-fold.

artist)

mix

(lit.

divide)

the primary
logic

full)

colours

and imagination and make

If

according thousandfold

to

his

own
is

(what

hundredfold).

the blues

are
It

green colour is produced. admixture of white or blue-predominating.

is

transformed a great deal, either pure, with an

One
:

or

more

(of these shades) are (used) as it is suitable

to the (special)

painting.

Blue,

(too,)

is

of

three

kinds

with white

predominating,
equal parts.

with very
it is

little

white or with both in

Thus
with

variously transformed

by

being

connected

anything

applied

as

an

astringent.

Thus

beautiful

(lit.

auspicious) paintings should be

yellowish like
apple and

the

Durva sprouts,

greeni

like

made the wood

dark

like the

kidney-bean.

(becomes) changed yellowish-white various kinds according as either of the

is

Blue tinged with in colour and of

two (constituents)

(present) in greater

or

For that
appears

reason
beautiful

the

smaller degree or in equal parts. blue-lotus-colour (ndl6tpalanibha)

partly

when

shaded

dark

like

the

masa.

By

proper selection and

distribution of

colours

paintings

become

delightful.

painting

in red

and

dark like the red lotus

(rakt6tpala)

becomes

beautiful

when combined with white lac, covered by a coating of The latter also transforms various other lac and resin.
colours.

TEANSLATION
(Oh) king, colouring articles are gold,
mica, deep coloured brass,
lac, myrobalam, best of men. There are

01
silver, copper,

red

lead, tin, yellow orpiment,

yellow

vermillion

and

indigo,

oh

many

other

similar

substances, oh great king, in every country ; A fluid should be prepared with an astringent.
of

colouring they should

be

made

iron a

leaves.

mica

defile

as

distiller.

In this way

placed in iron should serve iron becomes suitable for

painting. decoction

In the
of

(work

called)

Surasendrabhumija
be
a
distiller

hides

was

said
all

to

of

mica.

In the case of
Sindura tree
is

colours, the exudation of the

desirable. painting, firmly drawn with a magnificent hairy brush (lit. tail) on a canvas dipped im the juice of the best Dnroa grass cannot be (destroyed

and remains
water.

(intact)

for

many

years though washed by

10.

Part III, Ch. 41, Verses 1-15.

:

Markaijdeya said Painting is said to be or rour "true to life" (satya), (2) "of the lute kinds: (1) " " "
player
(vainika),
(3)

"of

the

city

or

of

common

man

"

(nagara) and (4)

"mixed"

(misra).

am

going to

speak about their characteristics (now). Whatever painting bears a resemblance to this earth, with proper proportion, tall in height, with a nice body, round and beautiful is
called
is

"

true
in

to

life."

That
of

is

called

vainika

which
strict

rich

the

display
in

postures,

maintaining
square
finished.

proportions,

phlegmatic, painting should

placed not (very)

an

exactly

field,

not

long and well

as

That

nagara, which is round, and well developed limbs with firm with scanty and ornaments. (Oh) best of men, the misra garlands name from being composed (of the three its derives
be
categories).

known

52

TRANSLATION
Methods
of producing light

and shade are said to be

three

(1)

Crossing lines

(lit.

lines

in

the form
(3)

of

leaves,

patraja), (2)

The

first

by stumping (airika), method (of shading)

in the

and
is

bydots(vinduja).
(patraja)

called
leaves.

on

account of lines

shape
it is

of

The

airikd

method

is called

so because

said to be very fine.

The
(i.e.,

vinduja method is called so from the not flowing) handling of the brush.
Indistinct,

restrained

uneven

and

inarticulate

delineation,
(too)
its

representation of the

human

figure

with

lips

thick,

eyes and testicles (too) big, and unrestrained (in ments and actions) such are the defects
(pictorial art).

movechitra

of

Sweetness, variety, spaciousness of

(back)

ground (bhulamba),
(of

proportionate to the position (sthana)

the figure), similarly (to what is seen in nature), (and) minute execution are mentioned to be the (good)
of
chitra.

qualities

(Oh)

best

of

men,

in

works

of

ornamentation and colouring should be known as decorative (i.e., as the elements of

chitra, delineation, shading,

visualisation).

The masters
of

praise

the rekhas

(delinea-

tion

and articulation
of

forms),

the

light and shade, display play of ornaments, the rest of the public

the

connoisseurs praise women like the dislike

rich-

ness of colours.

Considering

this,

great

care

should be

taken in the work of chitra, so that, (oh) best of men, Bad seat, thirst, it may be appreciated by every one.
inattentiveness, and bad conduct are the root evils
(in

the

In a work of painting, the painter) that destroy painting. ground should be well chosen, well covered, very delightful,

pleasant in every direction and its surface should be well coated anointed). (lit.

(lit.

space)

painting
(artist)

should be then
paints
it

very beautiful,

when
with

learned

with golden colour,

articulate

and yet

TEANSLATION

53

very soft lines, with distinct and well arranged garments, and lastly not devoid of the beauty of (proportionate)

measurement.

11.

Part III, Ch. 42, Verses 1-84.

said
:

king (ruler of the earth) is to be In the case of kings (however), depicted just like a god. the hair on the body should be drawn one by one. Sages,

M&rkandeya

gandharvas, daityas, danavas, ministers, the brahmins (in general), Samvatsara (&&?-, fli/va>, and the family priest (purohita) should have the size of a Bhadra, (oh) lord

Sages should be represented with long tresses of hair clustered on the top of their head, with a black
of

men.

antelope-skin as

splendour.

upper garment, emaciated, yet full of The gods and gandharvas should be represented

without crowns but with crests (oh, great king). Brahmins should be represented with white garments, and emitting
divine splendour, (oh) great king.
ministers,
all

An. artist should

draw
should

Sarhvatsara, and the family priest adorned with

ornaments and diadems.

Daityas and danavas

have frightening mouths, frowning faces, round eyes and (one) should represent them with gaudy garments though Oh lord of the earth, their dress should be without crown.
of the

uddhata (haughty) style. (Oh) king, Vidyddharas " Rudra " with should be of the size of a garlands and ornaments and accompanied by their wives. They should
their

be shown either on land or in the air and with swords in

hands.
a

Kinnaras, rdkshasas and nagas should be of

the size of

"

Malavya."
size of

(Oh)

lord

of

(should have) the

"

Ruchaka."

men, yak$as (The artist)

should represent the chief amongst men with the size of a Sasaka. Pisachas, dwarfs, hun^h-backed men, pramathas

and

(those)

who

enjoy the earth,

should be represented

54
consistent with

TEANSLATION
the rules of (proportionate) measurement,
rules
of

and in accordance with the

rupa (creative form). The females are traditionally said to be suited to the measure (of the male type) Kinnaras are said to be of two
.

kinds,

(some) with

human

faces

and

horse-bodies,

and

others again are said to

bodies.
all

be with horse-faces

and human

Those with horse-faces should be decorated with

ornaments, with splendour and musical instruments. Rakshasas should look terrible* with the hair erect and
bewildered
eyes.

The nag as should be fashioned

in the

shape of the gods (with the difference that) they should wear snake-hoods. All yakqas are said to be decorated with ornaments and they have been dealt with by me
(already).

No

special

measure

is

fixed for the

among among
and

the

suras

(gods)

nor for the

pramathas Ganas pisachas.

the gods should have the faces of various creatures should wear various sorts of dresses and weapons,

engaged in various pastimes and sports, (oh) great king. But the ganas of Vishnu should all have the same outward
appearance, and
of
still

there should be
of

made

four

divisions

Vasudeva should be represented them. The ganas The ganas of Samkarshining and similar to Vasudeva.
sliana,

of
of

Pradyumna and Aniruddha again are similar to each them and carry the weapon (of the special manifestation
Prostitute

(They should be painted) with vermillion or emerald colour, moon-white (in complexion)
dress
of

Vishnu) and his expression. " Buchaka." have the size of a

women

should

or

dark like the petals of the blue prostitutes should be unrestrained

to

lotus.

The
good
of

(uddhata),
of
size

calculated

-excite

erotic

feeling.

Women
of

family

should

be

made

bashful

and

the

"Malavya" wearing ornaments and

The wives and mothers
of

not very showy dresses.

daityas,

ddnavas,

yaksas and

rdkshasas ought to be according to the rules (laid down for The same holds good for the wives of pisachas. their men).

TBANSEATION
Widows
are
to

55

be shown with grey (hair) wearing white A hunch-backed, clothes and devoid of all ornaments. a dwarfish and an old woman also should be (represented)
in
(their)

natural

condition.

Amongst

host

of

royal
' '

wives an old chamberlain should be represented.

vaisya

should be

of

the size of a

' '

Ruchaka

and

a sudra of the size of a Sasaka.

(Oh) lord of men,

to their caste.

these
of

two should (have) dresses suitable

daily as

Wives

should

always have
as

attendant
of

women.
with

By one
fleshy

who knows
be

painting, the

commander
proud,

am army should

represented

strong,

tall,

shoulders, hand and neck,

with big head, powerful chest, prominent nose and broad chin, with eyes raised up towards the sky, and with firm hips. (Oh) great king,
soldiers should generally

face

s.

Foot-soldiers

painted with frowns on their should be represented with short and

be

showy uniforms; they should have arrogant looks and Swordsmen and shieldmen should be of carry weapons.
the

Karoataka type.

Good archers and bowmen should

have bare legs. Their dress should not be very short and they should wear shoes. Elephants, horses and such other animals should be possessed of the marks described.
Elephant-riders should have a swarthy complexion, their hair should be tied in a knot, they should wear ornaments
as well.

The uniform
should be

of

the

northern type.
their look

Bards should
directed

cavalry should be of the have a resplendent dress,

their neck should

be

shown.

upward and the veins on Heralds should be drawn

tawny and
and

as a rule, carrying staffs

squint-eyed, slightly resembling the danavas, in their hands. In a fight

(one) should not represent the

(heralds).

The doorkeeper

is

squint-eyed and the tawny known by the sword hangstaff in

He holds a ing by his side. look very mild anid his dress
chants should be

his

hand,

does not

not too conspicuous. Merrepresented with their heads covered on

is

56
all sides

TRANSLATION
by turbans.

Musicians, dancers and those who can correctly regulate the sound of musical instruments The should wear a gorgeous dress, (oh) best of men.

country and town should be painted with almost grey hair, adorned with ornamemts suitable to their rank, wearing white garments, stooping

most respectable people

of

forwards, ready to help and with a mien calm by nature. Artisans should be represented eager in the pursuit of their respective crafts. Wrestlers should be drawn with

broad shoulders, fleshy limbs, thick neck, head and lips, with closely cropped hair, arrogant and impetuous. Bulls,
lions

and other animals should be represented

they are seen
in
I have hitherto given the full

in appro-

priate surroundings as
of

nature, (oh) lord

description
of the

men.

appearance of objects not (usually) seen. Things that usually are visible to all, should be well represented resembling (what
is

seen in

nature).

The

chief

(aim) of paint-

Men should be painting is to produce an exact likeness. ed according to their country; their colour, dress and Having (general) appearance should be well observed.
carefully
(of

ascertained

the

country, employment and place

(a man is engaged in), seat, and dress should be drawn (correspondbed, conveyance ingly), (oh) lord of men.

occupation) and the work

Rivers should be represented in humani form, with Their knees should be bent their conveyances (vahanas).

and

their

hands should hold

full

pitchers.
artist

(Oh) best of

men,
tion

in representing
(of

mountains an

should show the

peak on the head

of

the personification). The representaislands makes the earth beautiful. (Oh) best of

men,

seas should

be

drawn with hands carrying

jewel-

and (the artist) should depict water in the place of the halo and further he should partially show the signs
vessels,

of

weapons

oni

their

heads.

When

representing a tank,

(the artist)

should show a

pitcher

and when representing

TKANSLATION
a conch-shell, (he
shall

57

kings, of a other things representations (should be drawn) resembling (what is seen in nature). Every part of the object to be

lotus, a

show) a conch-shell. (Oh) best of lotus (should be depicted), and of all

represented should agree with the general treatment of Of divine beings an artist should show the whole object.
as a distinctive

mark, the rosary and the book.

going to speak about the appearance of A learned (artist) should show the things actually seen. sky without any special colour and full of birds, (oh) king.
I

Now

am

Similarly (the artist) should show the firmament adorned by stars and the earth with its vegetation in all its variety
(lit.

with

all

its

distinctive

attributes).

(Oh)

best

of

kings, (an
rocks,

artist)

should show a

mountain by a

cluster of

(with) metal (-vein) trees, waterfalls and peaks, A learned (artist) should show a forest by various snakes.
sorts of trees, birds

and beasts.

by innumerable fishes aquatic animals and plants.

(He should show) water and tortoises, by lotuses and other

learned

(artist)

should

by and lovely royal

by
its

show

a city

beautiful
roads-.

temples,
artist

palaces, shops,

houses

An

should show a village

boundaries containing sparingly gardens. Fortresses should be shown with battlements, ramparts, high mounts

and

entrances in

their

enclosures.

Markets should be

shown; containing articles of merchandise; drinking places should be represented full of men engaged in drinking,

and those engaged in gambling should be drawn devoid the winners merry and the losers full of upper garments, The battlefield has to be shown as containing of grief.
four divisions
chariot
of the

army

(i.e.,

elephant corps,
soldiers

cavalry,

engaged in fighting, strewn with corpses and besmeared with blood. The burning ground should be represented with funeral
corps
infantry),

and

with

(A painter) should represent a road, with caravans consisting of camels and other (animals)
piles

and dead bodies.

58

TRANSLATION
The night should
be

carrying burdens.

shown -with

moon, planets and stars, with approaching thieves >and 'men (fast) asleep and others engaged in worldly pleasures
(lit.

showing what

is of

the world).

In the

first

part of

the rwight

shown going out to meet their The (breaking lovers. the) dawn is to be shown) by the rising sun, the lamps (looking) dim and crowing cocks, or a man should be drawni as if ready for work. The evening is to be showiu by its red glow and by Brahmins engaged ini controlling their senses. The (setting in) of darkness has to be shown by men approaching their
are to be
of

women

abodes.

That the moon

flower

is

the

kumuda

flower in full

shining should be shown by bloom, while the many petals

be closed.

of the lotus

should
it is)

fchower

of rain,

(that

When, depicting a raining should be shown by a

is

man
artist)

well

covered.

That the sun

creatures

shining should be

shown by (drawing)

suffering

from heat.

(An

should represent spring with merry men and women, " vernal trees, with bees swarming about by "laughing and cuckoos.

The summer has

languid men,
buffaloes

be shown with dried pools, with with deer seeking the shade of trees, and
to

burying themselves in mud.

An

artist

should

show the rainy season by flashes of lightning, beautified by rainbows, accompanied by heavily laden clouds, birds perched on trees, and lions and tigers sheltered in caves. A painter should paint the autumn with trees heavy with
fruits,

the earth

(covered) with ripe

corn (-fields) and with

tanks beautified by lotuses and swans. The "dewy" season (hemanta, the approach of winter), a learned artist
should show by frost on the horizon, with the earth lopped A (of her crops) and the ground covered by dew-drops. learned (painter) should paint the winter with the horizon
-shrouded in hoar-frost, with shivering

men and

delighted

crows arid elephants.

TRANSLATION

59

(Oh) lord of men, seasons should be represented by trees

in flowers and fruits

and

looking at should be represented as already spoken of. (An artist) should also suitably employ hereini what was said about
1

and creatures delighted (or otherwise) nature. Sentiments and expressions

dancing.

painting in which an object

is

is

devoid of

shading

(madhyama). which in some parts is shaded and in others remains without shading is bad (adhama). A picture
(varttana)

called

'mediocre'

picture

'

'

shaded

all

over
is

everything

(A painting im which good (uttama). drawn ini an acceptable (form) in its proper
is

'

'

time and age, becomes excellent, A while in the opposite case it becomes (quite) different. painting drawn with care, pleasing to the eye, thought out with supreme intelligence and remarkable by its exeposition, in its proper

cution, beauty,

charm

(lit.

amorous pastime),

taste,

and uch

other qualities, yields the desired pleasure.

11.

Part III, Ch. 43, Verses 1-39.

said
:

Markandeya
in painting

The sentiments
to

(rasa)

represented

srngara (erotic), hasya (laugh-exciting), karuna (pathetic), vlra (heroic), raudra (furious), bhayanaka (fearful), vibhatsa (loathviz.,

are

said

be

nine,

some),

adbhuta

(strange

and

supernatural)

and

ianta

(peaceful).

That which shows beauty and nicety form, and dress and ornaments according
the
learned,

of to

delineation of

the

taste of

becomes the

dwarf -like, hunch-backed, pearance, with unnecessary shortness of hands, should be

or

Whatever is srngara rasa. otherwise deformed in ap-

(A painter) should depict laugh-exciting in sentiment. in the "pathetic sentiment" what is pity-exciting in adversity,
sale,

abandonment, separation, mendicancy and

In another chapter of the Vishijuidharmottara,

60

TBANSLATION
Harshness, anger, slaughter raudra in which there should

such other circumstances.

these
befit

things be flashing weapons and bright ornaments. Display of prowess arising out of a firm determination, coupled with
the look of nobleness, with perhaps a smile on and a slight frown appertains to the '"heroic." the
lips,

the

Wicked,
kill-

hard-looking and almost mad

vindictiveness, bent on

ing

appertains

to

the

fearful

rasa

of

painting.
a

That

scene painting (which depicts) a terrible position (i.e., on account of the (reof execution) and (is) loathsome
presentation of the) cremation ground, should be the best in (showing) the vlbhatsa sentiment. of all paintings

Whenever

(a painiting)

depicts

(lit.

shows)

thought and
of

a slight horripilation

and the submissive face

it

and other (similar

sentiment.

figures),
is

is indicative of

the

Tarkshya adbhuta

Whatever

shown

benign in

appearance,

in meditation, and in postures and seats suited to the same, full of ascetic people, appertains to the santa rasa.

Pictures to embellish

hasya and santa rasas

(in the house) of

homes should belong to srngara, The rest should never be used

(But) in
all

anyone.

the

place

of

ruler

and
in

in the temple of a god

the

sentiments

may

be re-

presented.

the

(Yet these representations) should not be made residential quarters of the ruler. They should

be painted in that part of the palace of kings which is occupied by the assembly houses. Except in assembly (halls) of kings and in the temples, the inauspicious,
e.g.,

bulls

with

horns

(immersed)

in

the

sea,

and

(men) with their hands (sticking out of) the sea (whilst their) body is bent (under water), mem with ugly features,
or those inflicted by sorrow due to death and pity,

war and

the burning ground, should never be depicted. (Oh) great 1 the nine-gems, sages, Garuda, Hanuman king, Vidyadharas,
The nine gems of Kuvera, \. e., Padma, Maha Padma,, Saftkha, Makara, Kachchhapa, Mukunda, Kunda, Nila, and Kharva.
1

TEANSLATION
and
of
all

61
as
oni

those

who

are

celebrated
in.

auspicious

the

earth, should always be painted

the residential houses

(Oh) king, in one's own* house the work of painting should not be done by oneself. Weakness or thickness of delineation, want of articula-

men.

improper juxtaposition of colours are said to be defects of painting. (Proper position, proportion and spacing, gracefulness and articulation, resemblance, decrease and
tion,

increase

i.e.,

foreshortening)

these

are

known

as

the

eight (good) qualities of painting. Painting which has not (the proper) position, devoid of (the appropriate) rasa,

empty to look at, hazy with darkness and devoid of movement (chetana) is said to be inexpressive. One
seems as
if

life-

that

dancing by

its

posture

or

appears to look

frightened,

laughing or graceful, thereby appears as if endowed with life, as if breathing. These pictures are
(considered)
of

an auspicious type. (A painter) should make his (painting) to be without darkness and emptiness.
(painting depicting a) figure with defective limbs, covered all over with hair, overwhelmed with fear due to
internal disease, or smeared with a yellow
to be executed)
.

No

An

intelligent

artist paints

pigment (ought what looks

trust), but never what tranprobable (lit. scends it. (Oh) lord of mem, a painting (by) the skilled,

what commands

and those (who are) versed in the Sastras brings on prosperity and removes adversity very soon. A paintirg cleanses and curbs anxiety, augments future
the righteous

good, causes unequalled and pure delight, kills the evils bad dreams and pleases the household deity. The of
place

where a picture
paints

is

firmly

placed

does

not

look

empty.

smoke and streamers fluttering in the air according to the movement of the wind should be considered a great painter. He knows chitra who makes one portion of the body lower than the
waves,
flames,

He who

62

TRANSLATION
who
(represents) the dead devoid
of
it.

other/

of

life-movement

and the sleeping possessed

carefully avoid, in the case of all in front of another. In every case cession is praiseworthy.

In painting (one) should these, placing one (figure)

(their)

regular

suc-

Oh

lord of

men, the same

(to)

rules

as

applied to

painting

also refer to carving

in iron, gold, silver, copper and other

metals, and also

images made

of iron, stone

and wood.
applied
:

The same

rules that are valid for painting are also

It is

ghana and sushira, massive and hollow. Iron, stone, wood and be worked massively; skin, brass and iron may clay may
be worked hollow.
(In the
latter

to clay-modelling.

said to be of

two kinds

case) a thick

superim-

position of clay has to be given to the skin

and the paint-

ing has to be executed on

it

as

on a canvas.

In ihis treatise only suggestions are given, (oh king), be described in detail even for (the subject) can iDever

hundred years. Whatever has not been said here, should be inferred from (the rules of) dancing, (oh) whatever is not noted in (the rules of) lord of the earth

mmany

dancing should not be made use of here it be interesting, (oh) lord of men.
Painting
a house.
is

(either), (though)

the best

of all

arts,

conducive to dharma,

and emancipation.

It is
is

As Sumeru
is

very auspicious when placed in the best of mountains, Garuda,

the chief of birds, and a lord of the earth, the most exalted

amongst men, so

painting the best of

all arts.

[Here ends the translation

of the Chapters dealing

with the

Rules of Painting^

To suggest the 3rd dimension.

TRANSLATION

Continued

RULES OF IMAGE-MAKING

12.

Part III, Ch. WK, Verses 1-21.

:

Vajra said

Oh

sinless one, tell

me how

to

make

the

image

of a deity, so that the

image made in accordance

king,
listen

with the Sastras

may
said

always be near.
:

Markandeya
relate (the

Oh

to

me

while 1

process) of

making the image

of

of a deity.

Oh

king,

in

the

beginning I shall speak

auspicious characteristic of the

fests itself in the rajas,

forms and immeasurable prowess.

image His Brahml form mani-

to you about the Vishnu of three

which brings into existence every

thing and his Vaishiiavi (form) should be known as belonging to sattva, sustaining the universe, and then the Eaudra
(form)
is

tamas-predominating, causing destruction.

A
faced,
of

learned

image-maker
gratified,

should

make Brahma

four-

on

a lotus seat,, clad in black antelope skin,

(easily)

capable

being

armed, seated on a chariot of seven

wearing matted hair, fourswans. In the right

hand (should
the

be)

the

waterpot.

Oh
all

auspicious rosary and in the left king, the eye of that tranquil-looking
(Sastric) characteristics

image, possessing
all

and wearing ornaments closed in meditation should resemble the end

the
lotus
petal.

of

One should

represent

the god as a

(regular)

image or in a book.
(one)

god of gods, seated on Garuda, with the bosom shining with the kaustubha (jewel), wearing all ornaments, resembling in colour
the water-laden cloud and (clothed) in a blue and beautiful

Then

should

make Vishnu,

the

garment. Pour faces should be made and arms twice that. The Eastern face is called Saumya (placid), the Southern

Narasimha
9

(man-lion),

the
65

Western Kapila

and

the

66

TRANSLATION
(boar-like).

Northern Varaha

Vishnu wears

vanamala

(long garland of flowers), and in his right hands (should be shown) an arrow, a rosary, a club and so forth, and oh
great king, in his left garment, and a bow.

hands should be shown a skin, a

Oh
image

pious (king), now listen to the (description of the) of the bow-carrier (i. e., Siva). (One) should re-

present Mahadeva, the god of gods, seated on a bull and five faces should be made for him, oh descendant of the Yadus,
placid-looking, the Southern one (only) fierce, with a garland of skulls, destructive of the universe, all other
all

Northern one with three eyes (each). On locks (of the Northern face) the the crescent moon should be and the fifth face on the top of it.
faces, except the
crest

of

matted

As

his s acred thread one should

make VasukI

king).

Mahadeva, the god

of gods, should

(the serpent be represented

Oh strong-armed (king), in his right hands a rosary, a trident, an arrow, a staff and a lotus. should be
with ten arms.

In the

the trident-bearer, the god of gods, should be a citron, a bow, a mirror, a water-pot and a skin.
left

hands

of

The

colour of the whole (image) should

resemble the rays

of the

moon.
to

Thus has been described

of three, forms.
lotus,

you the image of Janardana

you the nature of the
of gods

Now

narrate to

oh king, on which the worship

should

be

performed.

13.

Part III, Ch. 43, Verses

1-8.

some other two cubits (hastas) in measurement, \\ith beautimaterial, ful filament and divided into eight parts. The pericarp should be round and raised by one-eighth part and clinging
lotus

The

(may

be) of gold, silver, copper or

to the petals.
seeds,

Kound

measuring

the pericarp, surcharged with round a yava only, there should be fifty-two

TEANSLATION
petals.

6T

Verily, that should be made in width by the onesixteenth part (i.e., the distance between pericarp and petals

horizontally where the should be the 16th

pericarp
part
of

no longer clings to them

two

hastas).

The
petals

rest
.(i.e.,

one should
the
outer

fill

up with eight very glossy

of
petals).
it

circle

Then

its

installation

should be

made and on
one
adore

one should worship the gods.

Thereon
one

should

should
it

thereon Brahma, worship Hari and Kudra as well as Sri.

Indra, the
lord
of

On
the

(again)

one should worship

thereon one king of the gods, and That god only and no should adore the sun and the moon. be worshipped on the lotus, by contemplating other should

world

and

whom

in mind,

it

was

set up.

Thus has been narrated to you the nature of the The whole of the earth is symbolised by the lotus lotus.

And on
ped on

it it,

the gods should be worshipped

being worshif

they become

propitious.

14.
:

Part III, Ch. 46, Verses 1-19.

By you the Supreme God (Purusha) has Vajra said been described as devoid of form, smell and rasa and destitute of sound

and touch

so

how can

this

form be made of
(come into
seen

him

MSrkandeya
Soul.

replied

Prakrti

and

Vikrti

existence) through (the variation in) the form of the

That form

of

him which

is

scarcely to be

Supreme was
as

called Prakrti.

The whole universe should be known

the

Vikrti (transformation) of

Him, endowed with

form.

Worship
of the

and meditation

possible (only

when He
deity,

is)

(of the Supreme Being) are endowed with form. The form

Supreme
is

as
to

he manifests himself should be

rites.

worshipped according
condition

Because the
difficulty

invisible

by the His own poreal beings, by the Supreme Lord, through

apprehended with great

cor-will

68

TBANSLATION

was shown that (form) and the gods (too) point out (that) form (of Him) in His various manifestations. For this That form reason God is worshipped endowed with form.
is

full

of

significance

hear this from

me
the

ready to

speak.

Through
re'ddish,

(the

preponderance

of)

rajas

colour

is

hence Brahman, greeted by

all

creatures

and the

best of the gods should be

the lotus.

Southern,
the

as resembling that tip of Eastern face, Yajurveda the (his) Rgveda Samaveda the Western and Atharva (veda)
is

known

Northern.

Those

that

are

the

Vedas

-are

these faces and the four quarters are the arms.

The worlds
from)
;

movable
water, and

and

immovable
holds

are

verily

(sprung

Brahman

those

the

kamandalu (water
is

vessel)

rests in

so (primeval waters) Kala his hand.

(Time) because Kala (Time, Death)

seizing (kalana)
all

indicated in the hand of

is

Brahman by
so

called

on
is

the rosary, account of

creatures.

All
(i.

sacrifice
c.,

propagated

by work white and non-white Therefore, the garment of the

antelope
is

lord,,
(i.

pious and impious). the skin of the black

matted).

white amd not white

e.

The seven
lana,

regions

are

known

as

bhuh, bhuvah, svar,

mahah,

tapas and satya.

These regions are the swans in the chariot of Brahman,

Oh best of kings, let the pericarp of the the great god. lotus, which took its birth in the navel of Vishnu, be known
as

Meru.

Oh

king, everywhere steadiness

is

the result of

meditationi,

and hence Brahman assumes

of
his

(the meditative
seat.

position)

by means

corporeal

lotus

Of the

(Supreme) Soul, one should thinik the best position as For the sight of the worlds He exists devoid of form.

with eyes closed in meditation. The medicinal plants which

help the

sustenance of the earth should be

the

matted locks of Brahman,

everywhere.

known as the high-souled, who moves

(learning)

The

repositories

of vidya

which

TEANSLAT10K
(act) as

69

revealers

of

the world,

should be

known

as

the

various ornaments of that great

God.

This form of that imcomparable (soul) that pervades Thus the the whole world has been described to you.

Pre-eminent Onie
with his body.

of the

world occupies the whole world

15.

Part HI, Ch. 47, Verses 1-18.

is

The universe
Supreme Being.
(black
colour),
life.

regarded as the transformation of the All transformation! consists of krshna

worldly

and through that is the sustenance of That lord, the creator of all creatures,
1

assumes the krshna form.

The wearing
is

of all
to

ornaments

by Brahman,

as

explained,

applicable

Hari

too.

He

by his bosom knowledge (jnand) as the stainkaustubha (jewel). Vanamala is said to be long, less variegated and black (krshna), oh king, by which this whole universe, movable and immovable is bound together.
sustains

Avidya which supports this samsard

is

(i.e.,

Vidya (i.e., learning) garment. and ajndna (non-learning, absence of knowledge) white, But avidya has beeni described as is said to be black.
the vidya (knowledge or wisdom white in) jnana. (It is) neither
(is)

his

is

worldly illusion) pointed out as

occupying the middle, is to be found that

nor dark, hence this vidya

the best.

Mind

existing in

all

creatures supports the intermediate

space and it fills mind should be

the quarters

which are

like

gold and

and bodies.

known as garuda pervading all beings Hence there is nothing which is more quick

and powerful than mind.

Pun on the word Krshna, suggesting at the same time an identification Brahma and Vishnu or Krshna, and making the black colour, i.e., the strain
1

of

responsible for the manifestation

that becomes

of

the

world contrasted with pure

existence

no stain and no

colour*

70

TEANSLATION
The four quarters, oh pious
(one),

and the same number

as the

of intermediate direction

these eight are specified

(lit.

(eight)

arms

of

Vishnu

bow-carrier).
strength,

Oh
reignty
of gods.

descendant of Yadu,

knowledge,
(great)

sove-

and energy are the four faces

Divine

of that

god

Lord Samkarshana, the Vasudeva, Pradyumna and Aniruddha are celebrated as manifestations of these four attributes beginning with strength.
images of these high-souled manifestations of Vishnu should have two hands and one face.
of

The

Each
The

the

four

sun
of

and

the

moon

should

be

known

(as the

Vasudeva, and the club and Oh strongthe ploughshare of the hands of Samkarshana. armed (one) the bow and the arrow should be known
attributes)

the hands of

(as attributes of)

the

hands

of

experts the shield and the sword are

of the

Pradyumna and by the known (to be) attributes

Purusha be the wheel and
as

hands of Aniruddha.

The sun and the moon should be known

and Prakrti.
the

These two are taken to

the hand of Vasudeva.

mace

ini

Know
to

be

the ploughshare to be Time and the pestle Death, (and) with these two the fierce (Eudra)

Samkarshaija

ploughs

this

(universe),

movable

and

immovable.

bow and arrow of fire Pradyumna. With these the Yogi

The

are

in

the

hands of

hits the

supreme target,
in

namely, the object of contemplation!. Oh strong-armed one, the skin

(i.e.,

shield)

the
of

hand

of

Aniruddha should be known

of

as

the covering

supreme knowledge) necessary for ajnana (absence Eenunciatiorw is the sword the creation of the world.

Nandaka.
ascetics

As cutting

of the tie

(of
it

affection)

by

it,

the

delight

(nandanti)

so

is

traditionally

called

Nandaka.

TRANSLATION
Thus has been narrated
Formless
(Being
to

71
of

you the form

all

that

who)
of

covers

the

universe.

The

highest, pre-eminent

the

universe,

supports the entire

world through this form.

16.

Part III, Ch. 48, Verses 1-20.

:

strong-armed (one), Sadyojata, Vamadeva, Aghora, Tatpurusha should be known (as the
four
faces
is

MSrkaijdeya said
of Siva),

Oh

the

fifth

face

(being)

Isana.

The

earth

said

to

be

Sadyojata,

water again Vamadeva,

Aghora and wind is regarded as Tatpurusha. In Isana, the fifth face on the top, we have the sky.
heat
is

Now

speak about the five faces of Siva one by Of the high-souled Sambhu, the eastern face should one. The three eyes of it are the be known as Mahadeva.
I shall

sun, the

moon and

the

fire.

The southern
That
as

face

is

terrific

and

is

called

Bhairava.

face of

Him

which

is

western

is called

Nandivaktra.
be

And

the northern (one) of that

and. the

God

should

knowru

purifying fifth (face) of Him should be known as going by the name of Sadasiva. All have three eyes except Vamadeva which has only

Umavaktra

two eyes. The face Mahadeva is the earth and the 1 Then the Nandivaktra Bhairava face should be next. is the wind and (the face) belonging to Eudra is called
'

the water/

Oh

delighter

of

the

Yadus,

the

Sadasiva

face should be

known

as the sky.

The ten quarters are His arms. (Two) should be known (as being allotted) to each face. In the hands of (i.e., allotted to the) Mahadeva (face) should be the
aksham&la
(rosary)

and

strong-armed (one), Sadasiva face. Them the

is called
1

kamandalu Oh (water-pot). and arrow should be in the bow

bow belonging
But evidently
slip.
it is

to

Mahe^vara

Pinaka.
is

No

equivalence

given there.

heat,

i.e.,

eight

tejat

ought to be read instead of Mas, a copyist's

72

TEANSLATION
Oh

destroyer of enemies, their significance has been exThe staff and the citron are in the plained beforehand.

hands

allotted

to

the

Bhairava
1

(face).

The Sceptre and

the hand

The death have been specified. the following significance). (has

citron) again> in

Oh

king, in the

hand

of

Bhairava the gem of seed is traditionally said to exist full of the atoms of the entire seed of the universe.

Oh
Nandi
2

delighter

of

the

Yadus, the shield and the trident

im

should be

known to The (face).

be

the

hand

(allotted

to)

the the

nature
to

and

significance

(of

shield)

was described
of

you beforehand.

Mirror and lotus

the

should be

known
face

(being

held)

ini

hands

the

Devi

(i.e.

Umavaktra).

Pure knowledge is the mirror and asceticism the lotus. Of Mahadeva, the (great) God, the matted locks are explained belonging to Brahman..

The lunar
the (six-fold

of Siva is celebrated as digit oni the forehead

divine)

attribute

(aisvarya).
is

Anger (which
as Vasuki.

serves) as death to the three worlds

known

and extensive tiger-skin is the thirst for The Bull is the Divine Dharma, of four feet. birth. The thing productive of the universe is what is celebratPrakrti is all white and hence Mahesvara ed as Prakrti.

The

spotted

is

white.

Thus has been narrated

less

to

you the form of that Form-

The best (sus(Being who) covers all the universe. tainer) of the universe through this form sustains the
entire world.

17.

Part III, Ch. 49, Verses

:

1-7.

Vajra said
the

Oh unmoved
of
1

one,

tell

me

(please)

about

construction

the

image

of

the

Nasatyas.

You

Corrupt reading.

Bead charma instead

of

dharma.

TRANSLATION
are

73

expected

to

know

all

about the

forms

of

the

Nasatyas.

The physicians of the gods Markancjeya replied 1 should be made by (in company of) the gods, having two arms, the colour like that of the lotus-leaf and garments resembling the lotus, decorated with all ornaments
and specially with beautiful eyes.
of

In the right hands

medicinal
plants
(oh)

them should be

(placed)

divine

twice-born one, and (Oh) descendant of Yadu, and on the left of another a pair of
showni.

in the left hands books

oni

worthy of being

the right side of one women, with beautiful

forms and agreeable to look

at,

should be
anid

shown.
Akrii.

Their

names sampad

are

stated

as

Eupa-Sampad

Rupa-

is said to
is

and Prakrti

be of the colour of the madhuka flower, said on this earth to be like the reed-stalk.
represented

(These two) should not be

with pots

ini

their

hands or wearing garments as white as the moon. Oh chief of the Yadu race, thus has been described

to

you to-day the form

of

the Nasatyas.
in this

He who

meditates
destroyer

upon or worships (them) of all diseases of men.

earth becomes a

18.

Part III, Ch. 50, Verses 1-13.

:

Vajra said
the process of

Oh

best of the Bhrgus, fully narrate to

of $akra,

me

making the images

(i.e.,
:

Klnasa

(i.e.,

Yama), Varuija and Dhan'ada

Kuvera).

Markandeya replied Sakra, the king of the gods, should be of white colour, and on an elephant with four tusks; and
SachI held by him should be placed on his left lap. Sakra should wear a blue garment, have a golden complexioni, with all ornaments and with eyes going obliquely
to the forehead.

Sakra should be done with four hands

On> the right hands of

and Sachi with two.

Sakra should

be placed the lotus and the elephant-goad.

10

One

left

hand

74
is to

TRANSLATION
be placed
the
left

on the

ba<ck

of

6achl and the second

is

to

hold the thunderbolt.

sprout of the Sa?itana

hand of Sachi should be plaeel a beautiful (one of the five trees growing im Indra's garden) and the right one should be stown as
resting

On

on the back

of

prescribed by Brahma and have four hands.

It has beefl, the king of the gods. himself that he shall wear omameirts

It is also prescribed

by Sambhu, the God of gods, that

is

he shall have three eyes.

He
all

is

of golden colour because he

the receptacle of
is

that

is right.

Tbe

blue cloth which

worm by him
.

is

really the sky as proclaimed (by the authorities)

Command, which subdues

his hand as the elephanit-goad. prosperous chief of the gods,

all

-creatures, (is present) in

Oh
the

lord of

the earth,

tte

auspicious Magfaavan were the Goddess of Fortune, (is resting oni the lotus by (carrying the) lotus ini his hand. The thunderbolt in> the hand of $akra is aniger, the subduer
the sun)

who

holds as

it

of the wicked.

Vasudeva

is

traditionally

regarded as Lakshml. should be kiuowm as progeny.

known as j&akra The Santana-sprout

its

so Saehl

is

in her

hand

Airavana
as

is

kiuowm as wealth and

tusks are explained

the

(four)

those

powers

very powerful (sources of) strength, (viz.) (which are derived from) divine agenicy,

(wise) counsel, suzerainty

and exertions

king, thus I have narrated to you this Sakra form of Vasudeva, the king of the gods. I will tell you now the

Oh

form

of

Yama,
of

in whose control

are

the

happiness and

misery

men.
19,

Part III, Ch. 51, Verses 1-21.

:

Markan^eya said
buffalo,

resembling

Yama should be represented oia a (m colour) the water-ladea cloud

,

75

a garment

(of

the

colour) of

heated gold, and

of

adorned;

by

all

ornaments.

Dhi3m6naa

the colour of

the blue lotus should be placed on* the

left lap.

She should

be

s&own with two hands, ami Yama with

four.

Sceptre and sword should be displayed in the right Oft< the tip of the sceptre should be done Jiands of Yama.
a-

head with a row of flames.

One

Itefihand rests on the back of DhQm6rnai, and the

other carries a skin.

The

right

hand

of

Dhu-m&rna should

be placed on* the back of Yama, and in her left hand On the right side of should be shown a beautiful citron.

him, one should represent Chitragupta with two hands and in: andi placid-looking, keeping an eye on Yama
his right
a leaf.
Oni the left should be

hand one should show a pen, and

in the left

shown the
to

terrific-looking

Kala,
as-

holding

a noose.

Know Yama

be Samkarshana

suming a taman body

for the destruction of the people with

a view to maintaining the moral law.

prevalence of tamas described as resembling in colour the blue-lotus.

On

account

of

the

Yama
His

is

gar-

ment
deva.
rs

is

celebrated,

oh

destroyer of foes,

through Vasu-

By Brahma

the four-handedness of that great

god
alro

extolled

specified
is

and Brahma. by

his

wearing That loss

of all

ornaments

is

of consciousness

which

Death should be known as the buffalo. Yama carries in his hand the unerring sceptre repreThat he should carry the sword and senting Death.

the shield

Oh
known
by

prescribed by Aniruddha. of the Yadus, Dhum6rna delighter

is

should

be

as K&laratri (the

Night

of Death).

It is enjoined

should carry a citron. the soul existing Chitragupta is really pointed out as The leal' (represents) dharma, and the peiu in all bodies.
Siill (i.e.,

Siva) that she, too,

in his

hand adharma.

76

TRANSLATION
Kala being kdla (black) by the very form, stancb close Yama. The noose in his hand is the inaccessible and

to

the fearsome path of

Yama.
of

Vajra said
tion
is

The form

regarded as

Vishnu which causes destrucSamkarshana. That god was described

by you
a
of

body as white as the moon. on the seat which bespeaks destruction has Yama Why Oh propagator of the race black (krshna) form ?
as grand, having a

Bhrgu, remove this doubt of mine. Markandeya replied The Samkarshana form of Vishnu
:

the expiry of a Kalpa that (forip) brings about the destruction of the worlds. Oh pious (king), the world when destroyed goes into
i;s

terrible

(when)

destroying.

On

Prakrti.

So

onie

with

the

colour

of

Prakrti brings

about the destruction of the worlds.

(God) in the
the destruction of

shape of
all

Yama

creatures

having brought about does again and again,

never support the combination! of (all) creatures ini Prakrti. In that Vikara which consists of pleasure and pain he brings about the colour and form of Vikara and ini this

way

the universe

is

destroyed.

This form of
destroys the

Yama
of

has been described

all

to

you
of

which
(king),

sin

gods.
to

Oh
the

high-souled

I narrate to you

now how

make

image

Varuna,

the lord of waters.

20.

Part III, Ch. 52, Verses 1-21.

:

of waters Varuna, the lord Markaiideya said should be made on a chariot with seven swans, in coloui resembling the glossy lapis-lazuli and wearing a white
cloth.

The god with

headed, wearing
of pearls.

a slightly
all

prominent belly will be four ornaments and decorated with necklac*

tKANSLATION
Towards
the
left,

77

one should

place

the

emblem

of

makara, and over the head (should be spread) a very white Oh king, on the left lap should be showm the umbrella.

two-handed Gauri, his wife, beautiful in all the limbs. On her left hand is the blue lotus and her right one
rests

om the back of the god. In the right hands of the god should be placed a lotus and a noose, and (one) should put in the left (hands) a

conch and a jewel-box.

On

the right side

Ganga should be shown on

,

makara

with a chamara (fly-whisk) and lotus in the hands and with a beautiful face and white as the moon.

On

the

left,

should be

made Yamuna on

a tortoise with

chamara, carrying a nlldtpala in the hand, placid, of the

colour of the blue cloud.

Oh
colour.

king, as the colour of waters

is

that

of the glossy
is

lapis-lazuli, so

Varuna,

who

represents

them,
are

of that

Oh best

of the twice-born, they again

very
is

white
very

(when) in their natural colours,

so

his

garment

white like them.

Vajra said My curiosity is intense and I wish to hear this (viz.), the true and untrue colours of water des:

cribed by you.

Oh delighter of the Yadus, Mfirkandeya replied untrue (i.e., unnatural) colour of waters is that of the
:

lapis-lazuli.

reflection

is (so)

That colour of the sky seen in them.

is

having

undergone

That colour which

falling

seen,

oh king

of waters,

by the
(belongs

to

down of waterfalls, resembling moonlight, them) when staying in their natural condition.

Varuoa, the lord of waters, is Pradyumna, the descendant of Yasudeva, and his wife Gauri should be known as
Rati, oh delighter of the Yadus. Oh lord (of the earth), the
lotus
in

delightful

her

78
liand (represents)
lotus
in

TRANSLATION
good luck.
of

Ok

strong-armed one,
for

the
of

the

hand

Vanraa

(stands)

the

law

Brahma.

Know

the conch to be riches, and the noose

the fetter
iia?

(that binds)

hand should
jewels.

mmsara be known

(world)

the

jewelled

ease

the
oi>

as the earth containing all (sorts

Fain^

is

the very white

umbrella, and
of

makara, and his wearing been narrated by Brahma.

(Seas
of)
salt,

ornaments on the arm

friendship the has

curdled milk, rice-gruel, exudation of sugar-cane and spirituous liquor these are celebrated as the (seven) seas in the world, oh best chief of

milk, ghee,,

men, (they

are) the seven

swans

in

the

chariot

of

that

high-souled Varuna. His wife should be known

rath! (represents)
success,
tortoise

as

Yamuna,
virility

oh twice-born
represent

and Bhagi(one), and the

and (appro-

makara and the priate) moment.

Lotus
is
in]

the

hand
to

of

heavenly

Ganga,

and

(blue)

lotus (utpala) belongs to the ancient

Yamuna.

Thus has been described

lord of waters
race,

you by

who wears

the noose.

me the image of that Oh moon of the Yadu

to

now

I will narrate to

you how

make

the image of

lord of riches.

21.

Part

III, Ch. 53, Verses 1-13.

:

Markandeya
should be

said
of the

The
of

having a man as his v&hana, lovely eyes, with necklace resting on the belly, with a beautiful garment and a coat of maiil.

made

colour

wealth-giver the lotus-leaf,

(Kuvera)

Two

large teeth should be done in the

mouth

of

him,

who wears a beard. His crown paining made inclined towards the left,

his foes should be

TEANSLATIOIvl
Ti*e goddess Rddhi, a

79

boon-giver
of
(tfea/tj)

should be maxle

on

the left lap.

rests

The

right

hand
her

two-handed (goddess)

on the back

of the god.
foes,
left

Oh
,

destroyer of

hand should be

made

and in the right hands (of Kuvera) should be made a mace and a spear. (One should make) a flag characterised by an emblem of
holding a jewelled vessel
lions, (and) a raised

platform for

the

feet,

His treasureand
lotus,

bags should be made in the form of conch they contain his treasures.

and

conch and a
lotus.

lotus, rendered as receptacles, should re-

present two hoards.

His face

is

inclined sideways between

riches

conch and

The

lord

of

should be

known
is

by you as Aniruddha.

The decoration (of all his limbs) by all ornaments The wealth known as gold cribed by Brahma.
chief of
all (sorts)

pres-

is

the

of riches.

cloth of the colour of gold.

to be the power,

Through His favour he wears The spear is traditionally said

of polity.
life,

and the mace, the administration

t

Bddhi
should be
in her

is

said to

be the

course

of

worldly

and

known by
is

(her very) nature.

The

jewelled vessel

hand

called the receptacle of

good qualities.

Know that whom the god

them
(the
is

sovereignty

is

represented

by the

man on

always (appears). By their shape the conch and the lotus should be known as hoards. (Hence) by
lotus

and the conch) uninterrupted (stream

to.

of

wealth)

given birth

By
teristic

(one) possessing patience the flag bearing the charac-

mark

of lions should be

known

as desire.

Oh good

one, the (two) large teeth are the of that high-souled (god),

punishment and reward

the nature
the

Oh
as

king, of that king of the Yakshas, this

in

(is

described)

the

forest

named Anantadauishtraof

Corrupt reading.

80

TEANSLATION
(Oh king) with wide and red
tell

Yakshanada.

eyes,

tell

me

what

I shall

you next.

22,

Part
:

III, Ch. 54, verses 1-9.

Vajra said
(the

Oh

descendant of Bhrgu, I wish to hear

of

process

of)

making the image

:

Supama

(Garuda),

Tala, Makara, Mrgu and the Maruts.

Markandeya
of

replied

an owl, (has) (colour), and should be done with circular eyes and face, furnished with two wing, and with legs and thighs of a
vulture.

Tarkshya has a nose in the shape four hands and resembles the emerald

(He seems) glowing on account

(but
his

of the

devoid of feathers in general).

nimbus (prabha), One should show in

and his two
is

hands an umbrella and a

full pitcher,

(other)

hands should be folded.

When

Vishnu

on
of

his back,

the
full

hands should not be made with an

should be

umbrella

and a

pitcher, but they should support the feet

the god.

He
all

made

slightly

pot-bellied-

and adorned

by

ornaments.
Tala should be done of the shape of an outspread palm fan. His earring should be done of the shape of a makara, and towards the top of it should be done Achyuta like a star
2

(rksha)

Mind, world,
regular

love,

work,

traditionally
as

enumerated in

Vasudeva, Achyuta, and Aniruddha in (due) order. strong-armed Pradyumma Tarkshya and Makara with Tala should be worshipped as they belong to Vishnu, Yama and Varu^a, the lord of

succession, are celebrated

the waters.

By

the learned they are appointed also for the

lord of birds, waters

and flames.

Corrupt reading.
Corrupt reading.

TEANfrLATION
23.

$1

Part III, Ch. S5, Verses

:

1-6,

Vajra said
of

Oh

pious (one), describe to

of

me

the process

making the images

$iva,

Agni,
it is

Nirrti

and Vayu

because

my

doubt with regard to

:

very great.

The left half of his body should be replied and Siva should be with four hands. (One should ParvatI, show) the rosary and the trident in the right handa. Oh
Markandeya
delighter of the Yadus, in the left (hands) should be shown a Sambhu should be with one face, with mirror and a lotus.

two eyes and adorned by

(king).

all

ornaments, oh high-souled

part of the body (should be) of his beloved. Oh strong-armed (one), Prakrti with Purusha is marked by close union and celebrated as G-aurlsvara, they are worshipped
left

The

by

all

men

The cause

of

the trident and the

like

has

been explained by me to you before. This is the image of Is&na described to

you.

now

(the

description

of)

the image of Agni,

Hear which is

always conducive to piety (dharma), for which the Ved&s became current in the world and which is the mouth oj
all

gods and demons.

24.

Part HI, Ch. 56, Verses 1-10,

:

One should said make Vahm Markaiicjeya (the Firegod) the lord of gods red, with matted locks, with
smoke-coloured garment,

surrounded with flames, three-eyed, bearded, four-hapded, with four tusks,

placid,

Yata
chariot

(Wind)

as

his

charioteer
parrots,

and

sitting

having on a

yoked by

four

with smoke as banner

(insignia).

Like Sachl of Sakra, the goddess Svaha should be rendered holding a jewelled vessel in her hand, and seated on the left (of his) lap. Flames and trident should be (held)
in the right hands of
11

Vahni and a rosary

in the

Ifeft,

82

TEANSLATION
Ked
is

verily the colour

of tejas (light), so

(his)

red

colour

is

traditionally fixed.

and his being the source of flames are evident (i.e., need no comment). His having a garment of the colour of smoke (generated in)
as the

His having Vata

charioteer

sacrifices is

said also to be evident.

have been explained (his other attributes :) matted and trident, locks, rosary, three-eyed-ness wearing of all (suitable) ornaments. The best abode consists of flames, through that he
receives oblations directed towards
foes,

By ambhu

(him)

and oh
all

killer of

he

(the

Firegod) accepts

them

for

gods
these

and
fine,

carries (them) then (to them).

Eeprimand, censure,
punishment)
at

and the fourth

(i.e.,

corporeal

are

celebrated as his four large tusks. Darbha (a kind of sacred grass used

sacrificial

highly purifying beard. Those that are the Vedas are the parrots yoked to his
ceremonies)
is

specified

as

his

chariot.

Thus has been described

conducive to the success of
king,
at

you the image of Fire, men and dispeller of sins. Oh

to

the

time of

(performing)
all

homa

this

is

to be

meditated upon by you and in

is

ceremonies of

fire, (this

to be invoked)

by (you

who

are) invincible.

25.

Part III, Ch. 57, Verses

said
:

1-6.

Markandeya

Virupaksha has

expanded-eyes, a

majestic staff, a bright face, hairs erect, two hands and a yellow beard. (He is) of limbs reddish-dark by colour,

with a dark garment, with hand holding staff and reims.

all

ornaments and with the

Then should be represented by the left the goddess, Nirrti by name as his wife, with dark limbs and a dark
face carrying a noose in the hand,

83

Kala (Time) is called Virupaksha and death (mrtyu) is Nirrti. Hence, oh king, (each) wears a dark appearance and dark garments.

The
the

staff

in his

hand

is

death

and the reins

of

camel

(signify)

.(vahana), the camel,

is called

His conveyance fetters. worldly the great delusion.

This Virupaksha form is specified of him, the unNow I will describe you to-day, rivalled lord of demons.

oh king, the image

lustre.

of

Vayu, the best

(god

of)

majestic

26.

Part III, Ch. 38, Verses 1-16.

said
:

Markandeya
should be with
(his)

Endowed with form

of

or beauty,

Vayu

colour of sky and with the wind. sky-garment (should be) flowing

two hands and

the

should be shown) Siva, his wife, as if moving away from his side. Pavaiua should be shownt holding by both the hands the end of the garment.
twice-born one, by his
left

Oh

The god should have dishevelled hair and a diseased face. The goddess Siva again should be done as very beautiful. As Vayu affords shelter to various scents and colours,
being their support by his motion, so (he of the unfolded (objects), i. e., of the sky.
is)

of the colour

So his garment
is

is

said to be the sky.

What
is

is

motion
(lit.

the goddess

Siva

and the breeze

Aniiruddha,

unhampered).
king, thus has been described to you the image of Pavana, who pervades all the universe and of the goddess, Siva, oh high-souled (one), known to all the twice-born
(ones) as pure

Oh

and

best.

27.

Part III, Ch. 59, Verses

:

1-7.
(the

of

Markandeya said making the image

Now

I narrate to you

process)

of Bhairava.

34

TRANSLATION
One should make
with round tawny eyes, with a face terrible on account of tusks,
(a figure)

with a big belly, with wide nostrils, with a garland of kapalas (skulls), snakeawe-inspiring, frightfully adorned on all sides with
ornaments, frightening the goddess ParvatI by the snake and with elephant's skin as the upper garment, resembling in colour t,he water-charged cloud and surrounded by many

arms decorated with

n^&s to big trees,
figure,

all sorts

of weapons,

bearing a likenails.

auspicious having sharp

its

This
be of

swaying
1

(with

right

hip)

is

said

to

Bhairava, while shown frontally it is called Mahakala. But the goddess should be placed on the left and in the

hand should be held a snake.

not

The goddess ParvatI should

and she should not be white

be

(in>

front of

him)

or red.

2&.

Part III, Cb. 60, Verses

:

1-6.

Vajra said
speak (to

Oh

propagator of
the

the

race
of

of

Bhrgu,

image making and Ambara (the sky-god). Vishnu, earth-goddess With one face and two hands the M^rkandeya said Lord carries the club and the wheel. Another distribution
:

me

about)

Brahma and

of limbs of

Hari has already been narrated, for binding That power of illusion pertaining to Vishnu the universe.
is

traditionally
of the

called
is

Gandhari
the

and
act

the
of)

club

ini

the
all

hand

god

always (in

subduing
that

creatures.

She herself

(i.e.,

Gandhari)

(represents)

very

LakshmT, Dhrti, Klrti, Pusti, SraddhS, Sarasvati, Gayatrl, the mother of the Vedas and that Kalaratri too. The wheel which sets the worldly existence a-going is
the wheel resting in the

hand

of

Vishnu,

the

wheel

of

Cf.

Gopinatha Rao, Vol.

II,

Part

T, pi.

XII,

figs.

51-3.

TRANSLATION
religion (dharmachakra), the wheel of time (kalachakifa-) the Zodiac (bhachakra), oh big-armed one.

29.

Part III, Ch. 61, Verses

:

1-5.

Markan<Jeya said
'be

The Earth-goddess (Mahi) should

of

made

of the colour

the parrot, adorned with divine

ornaments, with four hands, as a placid person and with her garment as white as the moonlight. Oh delighter of the Yadavas, in the hand of Bhu (earthgoddess)

should

be

held

a jewel- vessel, a corn-vessel, a

vessel full of

medicinal plants and a lotus. She should be rendered seated on the back of the four

Accompanied by all vegetable elephants of the quarters. life, the goddess is traditionally said to be of bright colour. Her white garment is religion (dharma), and the lotus
in the

hand is wealth (artha). The significance of the rest

is

known

to

the

wise

and

so it

may

be taken

as described to

king.

But

I will narrate (now) the

you by me to-day, oh form of the formless

Sky which has been described by the Siddhas.

30.

Part III, Gh. 62, Verses

said
:

1-2.

Markancjeya
the

The Sky

is

of

the

colour
colour.

of

blue lotus and wears a garment of

that

He

should be

made

placid-looking, with two hands carrying the

moon and

the sun.
that

Oh
the

king, thus has been described to you

.

form

of

Now comprehend sky which is verily allotted to (it) the form of that unrivalled grandfather (of the gods, i.e.,
Brahma) which
81.
I shall describe.

Part III, Ch. 63, Verses

:

1-3,

Brahma should be rendered seated Markandeya said on a lotus-leatf-seat, with fotrr faces. The (goddess) SSviti-1

83

TRANSLATION

should be seated

on his left lap, of the colour of the sun and having in (her) hand a garland of rosary-beads. Oh lord of the earth all other (attributes of the) form

should be as described before.

Oh handsome
to the

(one),
of

this

form verily
the entire

(as) described before,

control

which

world
(i.e.,

(is)

subjected,

should be done of the

Grandfather

Brahma), the unrivalled boon-bestower.

32.

Part III, Ch. 6*, Verses

:

1-7.

Markandeya said

The goddess
all

SarasvatI

should be

ornaments, having four hands and (One should show) a book and a rosary in her standing. left hand. In the should be the (hand) right
rendered adorned with

She should be shown with the feet placed together and with a mooni face. The Vedas should be known as her hands and all Sastras or sciences

kamaydalu (water

vessel).

as the book.

The kamandalu

of the goddess

should

be

(the

vessel

containing) the nectarine fluid of all Sastras and the rosary in her hand is time (kala), oh king. She, the personified
Sakti
of
is

There

Vishnu, should be known as success incarnate. no doubt in this matter. Her face is gayatrl
as the foremost of
all.

mantra celebrated
eyed, should be

She,

the

lotusfor

known

her eyes.

as having the sun *

to

and the moon

Thus has

beeni

described
to

of SarasvatI, very

charming
of kings.

you by me the form the mind and pure, which

should be meditated upon by

all objects,

all

who

desire for

success

in

oh best

33.

Part III, Ch. 65, Verses

:

1-8.

Vajra said

Oh

process of making the earth, of $esha, Vishnu, of unmeasurable prowess.

gods, tell me the the image of Ananta, the supporter of

(sage)

born

of

TBANSLATION
Markamleya
replied
:

8t

(One should) make (Ananta) of the colour of the moon, with a blue garment and four hands, wearing all (suitable) ornaments and having hoods bright
as jewels.

Many
the

hoods should be done and

on)

that

(hood)

which

is

middle

one

the beautiful

earth goddess,

should be placed, oh delighter of Yadus.

Lotus with a mace should be placed in the right hands of the god and the plough and the conch in the left. In
his

hand

is

the sea of liquor, and the tola

tree

is

said

to

be the entire universe, oh strong-armed one. Oh supporter of the race of the Yadus, the vanamala has been mentioned

by me

before.

By him
and woods.

supported the earth with mountains, forests So the earth-goddess should be shown on the
is

middle hood of him, hidden,

i.e., all

surrounded by hoods.
,

By

her, let your desire of

fame be

(satisfied)

oh chief

of the to

race of the Yadavas.

Thus has been

verily

described
V

you by

me

the form of the unthinkable great god Vishnu.

34.

Part III, Ch. 66, Verses 1-12.

:

god Tumburu should be Oh represented seated among divine mothers om a bull. descendant of Vishnu, oh best of kings, seated he should be

Markandeya said

The

made with

four faces

like

Saiva.

By MahSdeva was
shown
a skull.

described to you through

me

the entire form of him.

In his hand

carrying a citron should be

The citron should be as explained by Tryambaka. By his right should be a pair of divine mothers and
on his
left,

too,

another pair.
right

Jay a and Vijaya should

be done on

the

and Jayanti as well as Aparajita

faces,

on the

left.

They should all have two hands and four one) should show skulls in the hands of all.

(and

08

TRANSLATION

Ob
placed a

great
fltaff

king in the right hand of Jay& should be and in the hand of Vijaya should be placed a

sword with the colour of the mixed collyrium. Oh king, one should represent Jayanti carrying a rosary and Aparajita with a small javelin in the hand.
(One) should
footstools.

make one

foot of

all

of

them resting on
conveyance

The

right should be placed on the

and the

left

Jay a Vijaya an owl

bent, oh king. should have a

(lit.,

man

(for

her conveyance) and

is

mounted on

a horse

and Aparajita

should look like an owl). Jayant! (is) borne on a cloud.

Tlie great

god Tumburu should be made as white as

moonlight.

The

protector of the world, that glorious god for pleas-

And fulfilling ing the goddesses (should be) among them. of the worshippers that adorable destroyer of the desires
the foes of gods sits (as aforesaid)
.

35
Vajra said
waters.

Part III, Ch. 67, Verses 1-17.

:

By you was
of

described

(the process of)

lord- of the

making the image

the

Firegod and the

another pair,
1

Now

speak to

me about
:

i.e.,

the

Sun

and the Moon.

Markandeya
an
auspicious

replied

The Sun

should be

made with

moustache, of the colour of vermilliondecoration, with well-glowing garment and adorned by all ornaments, with agreeable form, with four hands and very
lustrous, well-covered

by a coat
2

of

mail.

His waist zone

called

yavi-yamg& (avyanga ?) should be shown. In his left and right hands should be shown sunbeams
he
should wear)
garlands auspicious

(as reins) (and

and

decorated by

all

flowers.
1

Cf.
f.0.)

Matpyaparaga.
the Persian

TBANSLATI0N
Endowed with human form and good-looking Danda (i.e., Sceptre) should be placed omhis left and en
right Pitigala (of a) deep

the

tawny

(colour).

descendant of Yadu, they both should have bright garments and the (remaining) two h&rada of- the Sw-god
should be placed on their heads. Pingala carries a pahn leaf
a;nd

Oh

stile.

The god

(Danda) with care

is

showm bearing

a shield

and a lance,

On

the

left of

on both the sides

Revanta,

the Sun-god should be a lion standard and of him should be placed his four sos,
a pair of

Yama and

Manu.

Ravi/

the.

king, of

the planets, should be surrounded by planets. Further, on all sides of him should 'be his* four
1

wives,

Rajni, Rikshubha, Chhaya and the goddess Suvarchasa, The god with Aruija (as his) charioteer should be^ seated

on the best

of chariots

with one wheel, seven horses- and

(i.e.,)

bearing six marks. The seven metres,

Vrhatl,

Pamkti,

Tristubh

Gayatri,. Uslmik, Aim^tubh, and JagatI, (are) the s$vea

horses in the chariot of the Sun-god. With the rays resting in the hands
entire

(he)

supports the
flag is

universe, and

the

lion

appearing on the

celebrated as

Dharma

in person.
entire world attached to his- waist

The god supports the

zone.

Rajni (is) the earth (bhu), Rikshubha (is) the sky (dyau) and shadow is celebrated as Chhaya. Lustre is called Suvarchasa, (and these are) the wives^ of the god.

As he
is

is

the

receptacle

of light, so

that glorious

(god)

of a red colour.

On
covered
of all.

account of
all

over.

possessing unbearable heat he (is) Thus the Sun is celebrated as the resort

Thus has been narrated by me the fofm

of the day, present
1

of the

lord

all

over the

world,

the. receptacle

of

Nikshubha in the Viivakarma&lpa.

13

90
all

TEANSLATION
lustre,

very

bright,

eternal

and

the

master

of

all

places.

36.

Part III, Ch. 68, Verses 1-14.

said
:

Markandeya

The Lord Moon

should be

made

with a white body and white garment, lustrous, with all ornaments and four hands. In his two hands should be

two night lotuses. Lustre (kanti) endowed with form should be on his right side and Beauty (sobha) on the left In a corner on unequalled in loveliness on this earth.
the left side should be his

ensign bearing the mark of a lion, as in the case of the Sun. The chariot should have Ambara as charioteer, two

Trimanas, Vrsa, Vadl, the horse Nara, Vach, Saptadhatu, Hariisa, Vyoma and Mrga, these ten from the left are all the ten horses of
Sraja,

wheels and ten horses,

the

Moon. Or (his) wives

called the

stars,

should be represented

very beautiful and twenty-eight in number. Or 82 conditions (bh&va) brought about through the differentiations of the body (of the gods, should be repre-

oh delighter of the Yadus, in days of yore, in the war of the gods and the Asuras, through their divine forms, (their own) wish (their) bodies,
sented).

Oh

king,

(they being) masters over (their

plied

many

times

(and) so
is

own) selves, were multithe demons were killed.

the

That

and that god

celebrated as

presiding deity

whose form was assumed by the star. Then again, in the war of the gods and the Asuras (i.e., demons) the divinities of female forms were also similarly
of that star
,

made

so

many.

Oh

pious (one),

moon

is

traditionally

said
is

to

be

the

procreator of all this world

and when he

created,

the

entire universe acquires great delight.

1

C/i also

Matiya Parana,

TRANSLATION
That lunar form
of the high-souled

91

Vishiju should be
in

known as the Moom

The night should be known as

the best.

lotuses

the

hands of

delight

and graciousness

(of) disposition.

own

So (Beauty and Lustre) have been specified (and their) nature (explains their significance), oh delighter of
of

the Bhrgus.

The Moon
composed

(is)

verily

white

colour because he

is

of the essence of water.

The
is also

first-born (ones) (i.e., the forefathers) called nectar

(the) receptacle (i.e.,

essence) that

of

waters and that abode

pointed out

as

of the

lion-ensign (the learned) call the Moon are specified as the (ten) quarters.

moon. Oh king, the Dharma and the horses of

37.

Part

III, Ch. 69, Verses 1-10.

in
this

Oh me

strong-armed one,
process
of)
(all)'

connection narrate to
of planets
l

(the

making images
as omniscient.
:

(as)

you

are considered by

like

Marka^deya replied Bhauma (Mars) should be made Agni and on a golden car with eight horses and Budha (Mercury) should be made like Vishnu and on a car like

that of

Bhauma.

Vrhaspati (Jupiter) should be of the colour of heated One should put in hia hands gold and with two hands. book and a rosary. a

The preceptor (of the gods) wearing a yellow garment and adorned by all the ornaments is seated on a divine golden car with eight horses and charming to the eyes. Sukra (Venus) should have a white body wearing a white garment. He is said to have two hands with a jewel
receptacle and a book.
1

Cf.

G. Kao, 0. C., Vol.

I,

Part II, p. 319.

Ofcidelighter of the Bhrgus, he shines on a car with ;ten horses. Dark and wearing a dark garment $a$ii

(Saturn) should have extended veins.

Furnished with two hands, carrying a staff and a rosary he should be on an iron-chariot drawn by eight
serpents.

Kahu
hand.

should

be

Only the head should be

on a silver-car with eight horses. represented furnished with one

Only the empty right hand should be shown of him. who knows, the form of the planet Ketu should By
one
be similarly made as that of Bhauma. Oh king, horses should ^be represented. That case, ten
only variation.
in
is

his

the

38,

Part III, Ch. 70, Verses

:

1-5.

Vajra said
to

Oh

(sage of) unmeasurable lustre, describe

of the

me

the

image

two Manus

(as)

ready) been described (the image) of

of 'the gods,

Yama

by you has (aland the king

oh pious (one)
:

The present Manu should be Mtirkandeya replied furnished with the marks of a king whereas the future one should be devoid of all ornaments, wearing matted
i

locks

and carrying a water

is

vessel

and a rosary.

Engaged

in penance, (he)

furnished with lustre, though lean.

(i.e.,

All other

Manus

those of the future) should be

Oh Yadu, (the future Manu) marked by asceticism. should be shown with a form similar to Savarna Manu.
The past Manus should be marked by
and the lord Eevanta should be
back
of a horse.
like

marks Surya (and) on the

royal

98

39.

Part III, Ch. 71, Verses 1-18.

:

Vajra said

Oh

(sage of)

immeasurable

lustre, ten

me

(the

process of)

making the images

:

of the

deities

connected with the planets.

Markandeya
of

replied

By me
of

were described before

gods too have already

the forms of Vahiji and the lord of waters and (the images)

Vishnu and of the king

I

the

been described to you.

you now about the image of Kumara having four forms, oh descendant of Yadu, i.e., Kumara, 1 Skanda, Visakha and Guru.
speak to

Kumara

should be rendered with six faces (and) adorrued

of a

by the feather

peacock. Having a peacock for (his) vahana, (he) should wear a red cloth. A cock and a bell in his right hands, the flag Vaijayanti

and a spear in the left (ones) should be shown. Skanda, Visakha and Guha should be like Kumara bu1 not with six faces and seated on peacocks. The glorious (and) eternal Vasudeva was born four-fold
as

Kumara with
Bhadrakall

view
the

to leading the

army

of the gods.

should be
in

made

hands, standing

posture

agreeable (and) with 16 of alldha on a car drawr

by four lions.

The rosary, the bow and the arrow,

trident,

the sword and the shield, th<

b<

the

conch and the lotus should

A spoon and a ladle represented, oh descendant of Yadu. A a seal-ring, and a water vessel should also be shown.
staff

and spear, the

in*

black-an>telope

skin and the

fire shoulc

her hands, but one hand of Bhadrakall should b< bestowing peace (i.e., im the abhaya pose) and the othe one should be carrying a jewel-vessel, oh prosperous (one)
also be

Guru

is a

mistake for Guha

gee jpawtw.

94

TBANSLATIO&
Chaturmukha should be made
like Prajapati

but without

the swan; as has been described by Brahmanu Vinayaka should have the face of an elephant and four

hands.
right
(ones).

trident

hands,

and the rosary should be placed in the an axe and a vessel full of sweets in, the left
left

Oh

destroyer of foes, his

tusk

should not be

represented.

(He should have) a

be OB the seat.

footstool (and)

one foot (only) should

The pot full of sweets (referred to above) should be held near the tip of his trunk. Oh descendant of Yadu, (he) should have a big belly
and
stiff

ears,

wearing a tiger-skin

(as) cloth

and having

a serpent (as his) sacred thread.

Visvakarma should have an appearance like that of the Sun. He, Dasapani should have a lustrous appearance and two hands.
lord

The

As

(he) creates

the

universe,

he

is

Visvakarma.

creator glorious Vishnu (is) the universe, and hence is said to be Visvakarma.

The

traditionally called of the

40,

Part

III, Ch. 72, Verses 1-8.

Vajra said:

Oh

divine

one,

oh

(sage)

worshipped by

the gods, describe to me the images of the Vasus, of the Visvadevas, of the Sadhyas, the Adityas, the Maruts, the

Bhrgus, the divine Eudras and also the auspicious image

of Angirasa.

Markandeya

replied

the form of Prajapati.

the form of Vishnu.

The Vasu Dhara should be with Dhruva by name is said to be with

:

Soma

should

be

given

the

form

of

the mooni, Andla

that of Vayu, that of Varuna.

Anala that of the firegod and Prabhasa

divine

The Visvadevas should have

forms like those

TEANSLATION
of

95

Indra). The king of serpents is devoid of an eye with a bent forehead. The god Angirasa should be giveni the form of Vrhaspati

Sakra

(i.e.,

and the Eudras the form

Mahesvara, and those called Sadhyas (should be given) the form of Vishnu. Oh descendant of Yadu, the twelve Adityas (should be) Different in (the O iven the form of the Sun (Surya)
of
.

discharge of their work they are traditionally said to be similar to the rising sun. Vishnu, Indra and Varuicia

should be

made

as

described by

me.

The gods

called

Maruts should be given the form

of Sukra.

41.

Part III, Ch. 73, Verses 1-51.

,

speak about (the process of making) images of other gods (as) you are said to be omniscient. The lord Kasyapa should be Markaijdeya replied
:

Oh illustrious (sage)

given the form

of Prajapati.

Aditi,

Diti,

Danu, Kastha,

Danayu,

VinatS, should all be rendered beautiful and with two hands.

Siiphika, Muni, Kadru, Krodha, Dara, Pradha, Surabhi and Khasa these ancient divine mothers

Oh

delighter of the Yadus, of these,

i.e.,

Aditi, Vinata,

Diti and Surabhi, the glance should be

shown mild.
divine

With
of

this form,

oh

best of the Yadavas, all the

mothers should be represented by one (engaged) in the work

making images. The other wives

of

Kasyapa should have lashing

eyes.

Dhruva, the lord of the multitude of planets (graha), should be shown having the form of Vishnu, placid-looking, with
Agastya, the great should be given the appearance of Bhavishya Manu. sage, Of the high-souled Bhrgu and others, the appearance is said to be similar. The sons of Sukra and Jayanta should

two arms, wheel and rays in the hand.

be made with two hands carrying a

bow and an arrow, and endowed with grace. placid-looking, pleasing

^6

TRANSLATION
The
lord Batfa, the son of

Yama, should bear the spear and

in his hands.

the shield; and Pushkara should be of the colour of the lotusleaf.

The sword and the book should be shotra

(Moonlight), the daughter of the moon, unrivalled on the earth through (her) beauty, should be oiu the left side, adorned by all ornaments.

Jyotsna

Nalakuvera, source of wealth, should be of good-looking form, with a face having two tusks and carrying a jewel- vessel inihis hand.
lord

The

The learned should know Manibhadra

appearance
of

to be

with the

No raised wealth-giver (Kuvera). platform (sivika) should be made for him, (he) with his wife
the

having a

man

for his

vahana.

Purojava, the son of Vayu, should be given the appearance of Vayu and the lord Varchas, the son of Soma, should
be very beautiful, carrying in hand a lotus at ease whereby
(he)

becomes radiant.
four
eyes, of the colour of

The strong armed Nandi should be represented with

arms and three
the

ruddy sun, and

having the tiger's skin as his garment. (One) should put in his hands the trident and a short javelin.

The

third (should be) placed

on the hand

(?)

and the
from
this

fourth should be threatening an advancing

a distance.

man

visible

The learned

should

know Virabhadra,

too,

by

(outward) appearance. I shall describe to you, later on, the

appearance of Dharma. Artha should have the appearance of the high-souled The god Kama (Love) should be rendered wealth-giver.
unrivalled on the earth by reason of his beauty. He should have 8 arms, adorned with the conch and the
lotus, carrying a

bow and an arrow

in the hand,

and with

eyes sportively handsome through drink. Rati, Priti, Sakti and Madasakti, these four beautiful

wives of

him should be done charmingly

beautiful.

TRANSLATION
Four
of his

97

hands should be shown touching the bosoms Makara should be made his flag and he, the great is shown with five arrow-heads. By the left (one) should make Nidra (marked) by the hand placed on the waist. And on her right side (there)
of his wives.

.should be

Samkarsha^a. Vasudeva is similarly rendered, and on the left son Maikanesan. Oh sinless one, I shall speak
1

is

the

to

you

about the image of Lakshml later on. The goddess Sarasvatl should be represented with four Oh delighter of the Yadus, in her hands should be hands.

shown properly the rosary, the trident, the book and the water vessel The very beautiful goddess Varu^I should be
1

with a pitcher.
She,
a

capable

of

subduing

all

creatures, is

called

Chamunda.
hands,

carrying a (one) should be represented. (Almost) similar (but) by

Having weapons in hands and with many big belly, the bosom covered by a red cloth, spear in the hand and on a huge car that mighty

should

be

way of distinction Sushka made haggard-looking and with three faces.

is

The goddess furnished with many hands

snakes.

surrounded by
skulls

Bhlma

is

shown having

garland of

and
2

carrying should be rendered shining (and) with a jackal-face. Oh king, the goddess carrying a vessel full of blood, the

a khatvanga (skull-staff).

The messenger Siva

sword and the spear has four hands and

the all'lha posture. Her fourth hand

is

standing

should

be

shown carrying

flesh.

Those marked by the name of divine and described by me before, the mothers should be furnished with suitable
1

Corrupt reading. Cf. G. Rao, Vol.

I, p.

j.

p.

125

and the image

of

Sivaduti in

the

Nag^ur

Museum.

13

98

TRANSLATION

forms and (marked) by the god-like marks. Those mighty (ones) whose form has not been described should be shown
dancing and carrying vessels
hands.
full of

blood and flesh in the

The Eastern
on an elephant.

direction should be a lady red

and seated

The South-eastern

is

bulky maiden of

the colour of the lotus, seated on a

The female elephant. Southern should be yellowish, placed on a chariot and with
(fully) attained.

youth

The South-western belonging to Varuiia is dark-yellow and seated on a camel. The West is dark, destitute of
youth and seated on
a horse.

Oh

delighterof the Yadus,

Vadava

(the
is

NW)

is

blue and
old

with hair almost grey. borne by a man

.

The North

white,

and

The North-east should be very old, on a bull. The lower region is similar
the upper region
is

white, and seated

to

the

earth and

suspended in the sky.

The
(in

the hand,

a noose in with a large face having hairs on the body terrific, the shape of) serpents and scorpions.

ever-present Kala should be

shown with

Fever should be represented with three feet, having ashes as his weapon, with flashing eyes, and fierce, with
three faces having three eyes and three arms.

Dhanvantari should be good-looking, with a beautiful

form.

A pitcher

full of

nectar should be placed in both of

his hands.

Eternal Samaveda should be

face of a dog.

represented but with

the

Or by

the clever the

(as follows).

Vedas should be made

with the form of gods

traditionally regarded as Brahma and the Yajurveda as Indra, the Samaveda should be Vishnu an<3 the Atharva, Sambhu,
is

The Rgveda

TBANSLATION
Siksha should
celebrated
as

9$

be

known

Brahma. rana) and the lord Varuna is Nirukta. Chandas is the Earth, and Jyotisa is the

Prajapati and Kalpa is SarasvatI is Grammar (vyakaas

glorious Sun.

Mlmansa is the glorious Moon and Nyaya, Dharma (represents) Dharmasastras andManu,

the

Wind,

the Purana.

Prajapati (represents) Itihasa and Satakratu Dhanurveda. The lord god Dhanvantari himself is Ayurveda and the Phalaveda. (represents) the goddess Mahi

Mahesvara

(represents)

the

science

of

dancing

(Nrtyasastra). Samkarshana (represents) thePancharatra, Rudra, the Pas'upata and Ananta, the Patanjala and

the

sage
is

Kapila the

Samkhya.

The
all

lord

of

wealth

(Kuvera)

celebrated (as
.

representing)

the sciences of
of

wealth ( Arthasastra)
world,
All

The god Kama,

other
sciences
is

instructor
arts

the

(represents) all

the fine and mechanical

are

(Kalato

sastra).

the

said

be

the deity of that (particular science). He represents the body of the sastra kavya. Oh destroyer of foes, the form of the different limbs of

produced by that author

who

time should be made resembling owni god. (?)

the

appearance of

their

Oh moon
you the form

of the

Yadu

race, thus has

been described to

of all the best of the gods.

42.
:

Part

III,

Ch. 74, Verses

tell

1-5.

Oh sinless one, Vajra said making the form of a Ling a.

Markandeya
ped, the
replied
:

me

(the

process of)

adoration of

Verily when a Linga is worshipthe world should be (regarded as)

The upper portion of it should be round, accomplished. but one should make the middle portion octagonal and that near the brahmapltha (i.e., the lowermost portion) is
square.

The round

portion

is to

be shown (entirely), while

iOO
the octagonal portion)

TRANSLATION
is

inserted into

the pindika and the

Towards the square portion is within the brahmapltha. top of the Linga from the front the hem should be marked,
well

rounded and curvated upward. All other (characteristics) of the Linga were laid down by the learned in the Brahmasutra and have to be selected with discrimination.

43.

Part III, Ch. 75, Verses

:

1-9.

Vajra said
describe to

Oh

best

of

the

supporters of

dharma,

me

the form of
the

being

worshipped,

(upper regions), for he worship of the world should be

Vyoma

(regarded as) accomplished.

Markandeya

replied

The lowermost portion should

be square and then circular, oh strong-armed (one), then Then slightly slightly four-sided and then (fully) square.
1

four sided and placid like the Meru.

is
is

This (the lowermost) This called bhadrapitha, the third part of Vyoma. the nature or characteristic of all the bhadraplthas.
portion
is

The middle
as

said to be four-sided

and

is

known

sambhava.

topmost portion, there (one) should place the lotus with eight beautiful petals and on the pericarp in)
the
its

On

midst, the Sun-god.

On
fix

the petals (one)

should place

the

Dikpalas

in

their

bhadrapitha (one should) Therefore (the learned)

proper places. the Earth.

Underneath the

know

the lotus (to be) the upper

regions, all the chief gods are close at

hand

there.

Oh
its

as full of all

strong-armed one, Vyoma has been described to you gods and one gets all desires by performing

worship.

Oh

you hero, the chief

has thus been described to

1

Yadava family, by me you the true form of Vyoma.

of the
bevelled
off ?

With edges

TRANSLATION
Through the worship
of

101

Vyoma

the entire world should

be (regarded as) worshipped.

44.

Part III, Ch. 76, Verses

1-5.

Oh

delighter of the Bhrgus,

be endowed with what form?

Krshija be

Nara and Narayana should (And) how should Hari and

made ?
replied
:

Green like the Durva grass, Nara should be represented with two hands, Oh strong-armed one. Narayana with four hands resembles (in colour) the

Markandeya

blue-lotus stalk.

with
ing

fruits.

In their midst should be Vadari decorated Along-side Vadari they should be shown carryand on an
eight-wheeled beautiful chariot Self-contained (they should be

rosaries

endowed with grandeur.

represented), wearing black-antelope-skins and braided hair

forming coils on the top of their heads, with one foot placed on the chariot and with the other touching the knee. Hari
should be like Nara and Krshna resembling Narayana.

45.

Part III, Ch.

:

77, Verses 1-10.

Vajra said

Oh

pious (one), oh

me

(the process of)

making

conqueror, describe to the image of Dhanna, Jfiana

(Knowledge),
(Wealth).

Vairagya

(Detachment)

and

Aisvarya

Markandeya said
be

By one who knows, Dharma

four-footed and

should

made

four-faced,

four-armed," with a

white garment, possessed of all ornaments, and of white In his right hand (one should show) the rosary and colour.
in the left

the

book.

By

the right side should be

shown

Adherence (Vyavasaya) in person and by the left Happiness The hands of Dharma should be placed very beautiful.
on the head of (either
of)

them.

102

TRANSLATION
Kala
is

traditionally

(agama), the book.

known The four

as the rosary

and the Veda

faces

are

yajna (sacrifice),
(each of these)

satya (truth), tapas (austerity) and dana (liberality).

Time and
is

place, purity

traditionally pious (one), the four feet of that god should be known as sruti (revelation), smrti (recollection), good behaviour and self-content-

known

as ant

and purification arm of him.

Oh

having knowledge for his garment and as white on account of the preponderance of
is

ment.

He

celebrated

as

sattva.

Or fourteen wives of him should be represented. Kirti Medha (in(fame), Lakshml (fortune), Dhrti (fortitude),
1

tellect),

Pushti

(development), Sraddha (reverence), Kriya

(judgment), Buddhi (intelligence), Lajja Santi (peace), Siddhi (success), and Tushti
the fourteenth.
All

(activity),

Mati

(bashfulness),
(satisfaction),

these doors of

dharma

have been pointed out to you. They should be endowed with forms, lustrous and well-ornamented and with two
hands.

Only

if

any one
(into

is

accompanied by his wife and

mysteries of

then

is

initiated

the

Dharma) then

Dharma

should be (regarded as) established.

46.

Part
said

III, Ch. 78, Verses 1-13.

:

That Vishnu assuming the shape of the Man-lion (Narasimha) has been called jnana (knowledge) by those knowing dhyana (meditation), oh tormentor

Markandeya

of the strength of others.

With broad

shoulder,

hip and neck, with lean middle

and a small abdomen, the main (part of the) body lustrous, decorated by all ornaments, he should be in the position of The face surrounded by a garland alldha on a throne. of flames has flames as manes. (He is shown as) piercing of Hiranyakasipu with sharp nails. The demon the heart
Hiranyakasipu should be of the colour of the blue lotus and

TRANSLATION

103

The learned know him to placed on the knee of the god. The lord (really) embodying the be ignorance (ajfiana).
soul of Sarhkarshaija, is the destroyer of ignorance.

Oh

twice-born

(one),

the

god

Sarhkarshana
(i.e.,

always
that)

destroys up the threefold impurity of this world .sprung from speech, mind and body.

Hari

as the

part (manifestation)
of

suming the shape

Samkarshana asthe Man-liom (Narashnha) becomes the

of
,

dispeller of the three kinds of tamas.

other form exists in this universe.

Eesembling his form (assumed) through kindness, no The Nrsimha form of

is

the god

the dispeller of

all

The

lord

god

Hari

ignorance. should be easily

seated

on

lion-throne, furnished with two hands resting on the heads of Gada (the personified club).
lord with a body full of flames and carrying a conch and a lotus has (his) feet slightly raised, and placed on the hands of the earth endowed with human form.

The

by hands holding the conch, the wheel, the club and the lotus and with hair
beautified

Or Narasimha should be

looking like curling flames of fire, to be seen with difficulty on account of the prabhamandala (halo). He should be fur-

nished with

all

implements (but) devoid of

sky-coloured,
is

all

ornaments.

Nrsimha,
the lord of

the

the worlds,

the receptacle of lustre, knowledge. Of that inscrutable

Janardana, the three-fold form by me.

47.

has

thus been

narrated

Part III, Ch. 79, Verses 1-11.

Varaha, (is) the glorious Hari, in whom (is) centred (all the) wealth (aisvarya) and he holds Earth by the tip of his
tusk through the power of his aisvarya (i.e., greatness). Or the Human-boar, the Lord should be placed on Sesha.

tiful jewelled

Sesha should be represented with four hands, with beauhoods, with eyes wide open and beaming with

104

TRANSLATION

wonder and engaged in, looking at the god. Oh descendant of Yadti, in his hands should be placed the plough and the mace (or club). (He) should further be shown hands
joined in the anjali pose and with snake ornaments. Bhagavan should be on his back standing int the
posture.

alldha

Clinging to (his)
as a

left

arm Earth should be represented

beautiful and

wonmn engaged

in respectful salutation,

with two hands.

In that hand which supports the goddess (Earth) there should be the conch and his other hands should be rendered
carrying the lotus, the wheel and the mace. Or Bhagavan; should be with Hiranyaksha (standing) in front with raised spear, (his own) hand with the wheel
(being) ready to cut off the head of Hiranyaksha.

The learned know Hiranyaksha

incarnate.

to be

Absence of power

He, the destroyer

of foes,

was destroyed by
to

Varaha through (his) aisvarya (power). Or (he) should be represented with two hands about

carry the earth. With the form of an entire boar amidst numerous Danavas
hi
(the
act of) supporting the earth (he) should

be shown

Mrvaraha (Human-boar) (or merely as a) boar. The glorious Aniruddha should be Varaha who rescued the entire earth through (his) power (aisvarya) and contem(either as) a

plation

(yoga).

(as he is),

His power, the dispeller of oh king, was not arrested in any place.

all

sins

48.

Part III, Ch. 80, Verses

:

1-6.

Oh strong-armed one, in this connection Vajra said wish to hear the (description of the) form Hayagriva
Vishnu
immeasurable greatness. The god with (the) Markaiicjeya replied
of
:

of

head

of

horse

(i.e.,

Hayagriva)

sbcruld.

he sttowai wearing a blue

TRANSLATION
garment and with a smiling countenance and with feet resting on< the hands of the goddess earth.

105
(his)

the god Hayagrlva to be a part of Samkarsharia. The god should be with eight hands and in four of his hands the learned (icon-maker) should show the conch, the

Know

wheel, the mace and the lotus endowed with forms (sakara). The four (other) hands should be placed by the god on
the head of the personified Vedas.
all

wearing
rescued
.

ornaments, in days of

the god Hayagrlva yore the Vedas were

By

Oh

chief of the

by two chief the head of a horse, by that excellent (god) they were cued from the nether region.

Yadava family, the Vedas were stolen demons and by the Supreme Being having
res-

49.

Part III, Ch. 81, Verses

1-8.

Describe (to) me the form of Padmanabha, 1 Vajra raid the lord of the worlds, wherein Brahma, the god of gods, was born from the lotus-face.
:

Markaruleya replied

a head to be seen with difficulty

Sesha, looking like a snake, with on account of valuable

gems and
in water.

number

of hoods,

should

be represented lying

Thereon the god

four heads.

of gods should be

shown

Oh

lord (of

the earth) one of

asleep with his legs should

be placed on the lap of Lakshml. The other should be placed on the flank of the body of Sesha. One of his hands should be extended over the knee. Another hand should be placed on the navel and a third

should be under the head of the god. And the remaining one should be
the Santana (tree).

Oh
1

holding a sprout of descendant of Yadu, on the lotus

C/.

a, Rao,

1.

c,

14

106

TEANSLATION

containing the entire earth (and) sprung from his navelpool in front of the goddess (Lakshml) Brahma should be

shown.
Kaitabha.

Clinging to

the lotus-stalks should be

Madhu and
in

Then near
1

the snake there should be

weapons

human

shape.

Oh

leader of

the Yadava

chiefs,

thus has beem

described to you the image of that great god.

50.
:

Part III, Ch. 82, Verses 1-16.

Oh propagator of the Bhrgu race, speak Vajra said to me about the form of Lakshml, the mother of the entire
earth and the wife of the high-souled Vishnu.

Markandeya
should be
of

replied

The goddess Lakshml, oh king,

all

divine form, fair, wearing white garments,

near Hari, adorned by

unrivalled
in

of point beautiful lotuses in the hand.

ornaments, with two hands, beauty on earth and carrying

The goddess

separately should be represented with four

hands on an auspicious throne. On her throne should be a lotus with beautiful pericarps and eight petals, Oh

Oh strong-armed (one), the goddess prosperous (king). should be seated like Vinayaka on the pericarp. Oh best of the Yaclavas, in her right hand should be a conspicuous
lotus

with long

stalk,

king, in the left the other two hands should carry

(Aegle Marmelos).

Oh touching the end of the armlet. should be a charming nectar-pot. Oh king,

a

conch and a Bilva

Behind her back there should be a pair of elephants pouring out the contents of two jars. Above the head of
the goddess should be a charming lotus. Know that to be good luck and
the

conch to be

prosperity, the Bilva to be the entire world and the lotus in

Ayudha purushas,

i.e.,

personified weapons.

TEANSLATION
the hand of

107

Lakshml

to be the nectarine essence of

water.

Oh

best of the twice-born, take the

pair

of

elephants as

exalted rank and the conch and the lotus to be two seas.

Or (the goddess) should be made standing on a lotus, with two hands, carrying the conch and the lotus, beautiful
ornaments, of the colour of the Over interior of the lotus, glorious and wet. and near the head two handsome Vidyadharas should be
in all her limbs, adorned

by

all

shown
on

flying near the

head,

the heads, with the

with the right-hands placed (left) hands carrying swords and

engaged in looking at the goddess. Near that goddess should be done Rajasri, Svarga Lakshml, Brahml Lakshml and Jaya Lakshml. (They) should all be made with
beautiful figures and well-ornamented. Oh high-souled (king), know that

which stood Lakshmi to be Kesava (because) separated from Madhusudana she the mother of the universe does not
lotus
oni

rest in peace for a

moment

even.

51.

Part III, Ch. 83, Verses 1-14.

:

Vajra said

Eemove my doubt
of

as to

the

form with

which Hari, assuming the form

:

Visvarupa, should be You are verily called omniscient. represented. To begin with the god should be Mfirkandeya said

Over that again should be Mahesvara faces. They are devoid of the Isana face (as) told by me before. Above them should be placed the Brahml face as
four-faced.
aforesaid.

shown

Then
curved

line.

other faces should be placed upwards but in a (One) should make (faces) of all the gods
too.
1

and others

The

faces that are

of
all

living creatures

and
1

various shapes (belonging) to all those glances specified by the

R5p maQdana.

Cf.

108

TRANSLATION

high-souled (seers) in the rules of chitra should be shown on his heads in part. He should be shown devouring Various beings should be shown shaking (everything).

with other
terror
of

(i.e., all sorts

of)

faces,

all

conducive to the
are) other faces

(all)

sentient

beings.

(There

which are auspicious.

According to the capacity (of the artist) that god should be made. Those hand-poses which were seen by
be shown (performed by) the hands should be adorned with
sacrificial sticks, pots

the illustrious (sages) in the science of dancing should all arms of that god. Other

of (i.e.,

weapons, others carrying containing) Time, arts and

all

music.

Oh

infallible (one)

another form

different

from

this

should be like that of Vaikuntha (another form of Vishnu).

Moreover,
according the whole
his
to

oh king, by way
the rules
of

of

chitra

(paintings)

the

Sastras

one should show

attached
to
all

aggregate of

the

three

worlds

body.

Of

that

high-souled,

many-formed god
his

the

colours should

be

shown (painted) on
to (one's

various

heads.

Thus should be made, according

the

own) power,

Lord,

whole and entire, the chief

of the worlds.

The

form of that Supreme Being is beyond being described in its entirety, what to speak of its being made.

52.

Part III, Ch. 84, Verses 1-15.

:

Listen to my description of the Markandeya said By worshipping (process of) making the image of Aiduka. Aiduka the worship of this world should be (regarded as)
accomplished.

Oh

best

of

the

Yadavas,

oh subduer

of

enemies,

the learned should

pleasing steps in

make

a bhadrapitha furnished with four

all

directions.

TEANSLATION
Oh By
subduer of
it

109

pitha above

should place another bhadraand another over it like that.

foes, (one)

one who knows, a phallic figure should be placed on the top of it; it should also be furnished with the lines
of a phallus.

fixed staff.

quadrangular should be thirteen steps. Over it there should be a shining raft. And over it again there should be made a well rounded staff, oh king, inserted

In the midst

of
it

it

(one) should

show

Over

into a half

moon and

decorated by solar and lunnr discs.

Oh

king, the steps

the shining raft

which have been referred

should
be

me and

to by knowni by you to be

the fourteen worlds.

In the phallus staff is Brahma.

is

the god

Mahesvara and

the

circular

The stick that is quadrangular is the god JanSrdana. The three bhadrapllhas should be known as the three The three worlds containing (all that is) movequalities. able and immoveable are said to be the receptacle of the
three qualities. Below the worlds

but above the phallus the Lokapalas

on four sides carrying spears in hands Viruda, Dhrtarastra, Virupaksa and the powerful Kuvera, oh descendant of Yadu. They should be armoured, adorned by all auspicious
should be
represented

ornaments, handsome and

(i.e.,

wearing dresses
of

like

the sun

Surya).

Know

Sakra, the lord of the hosts

the Devas and

Dhrtarashtra the lord of Ganas to be Yama, the conductor Know Virupaksha to be Varuija, the lord of of the world.
waters and
wealth-giver.

Kuvera, the king of

kings,

as

the

master

Oh chief of the Jadu family, by me the image of Aiduka, said

well-being of the people.

thus has

been described
to

to be conducive

the

110

TEANSLATION
53.

Tart III, Ch. 85, Verses 1-79.

of

Oh descendant
of)

Bhrgu, narrate
of the

to

me

(the

process

making

the image

high-souled,

eternal,

omni-

form god, Vasudeva.

Markandeya
of placid form,

replied

good to (suitable) ornaments, of the colour of the water-laden cloud, shining with a meek with auspicious lines like the conch,
furnished with the best of kunialas

has one face, four arms, and is look at. He is adorned with all

He

(ear-ornaments),

pro-

vided with a good covering. He wears armlets, has fastened bracelets round the armlets and is decorated by the vanamala,
supports on the bosom the kaustubha jewel and on the head the kirlta.

The
ing

lotus over the

head

of this (god) should

have charm-

pericarps.

arms and joined fists and has Between his legs fingers with copper (coloured) nails. the earth should be shown with the appearance of a woman,
is

He

slim, with

long

tawny
tified

like

the emblic

myrobalan and with a middle beau(i.e.,

by the wavy

trivall

the three folds

above

the

The regarded as a mark of beauty). god Janardama should have his feet placed a tula apart, with the right slightly stretched and with the feet placed on The earth should be the hands of that (earth-goddess).
nuvel of a

woman

made with glances

god and the god should be rendered with his waist-cloth extend-

(as if) surprised at the sight of the

ing up to the knee.

Vanamala
of

(flower

garland)

should

extend to the knee extend to the

the god

and the sacred

thread

should

navel.
(Orre)

should
lotus

put

into

the

right

hand

of

the

god a

full-blown

and the conch should be placed in the

left-hand with the shape of a conch.

TRANSLATION
On the right a woman with
all

ill

of

should be the goddess Gada, in the shape a thin middle, with beautiful eyes, adorned
lovely.

with

ornaments and

of

The goddess should carry a ch^mara looking at the lord The right hand of the god should be the god of gods.

placed on her head. Placed on the left side should be Chakra with a big belly,

furnished with

dancing.

He

ornaments, with eyes wide open (as) in should carry a chamara and should be enall

gaged at looking at the god. The left hand of the god should be placed on the head of that (Ghakra). What (is) the fear of that god that he is Vajra said
:

always with all weapons ready, as He is (there) the soul of all and the di speller of the fear of the dwellers in
heaven.

descendant of Yadu, these are not weapons by their true nature but the chief elements

Markandeya

replied

Oh

(which) the lord Hari

supports.

strong-armed (king), know (that) the conch in the hand of the god is the sky and the chakra (wheel) to be the

Oh

and gada (club) of that lord, the heat and lotus placed These chief elements in the middle of the legs to be water.
air

oh king, are soon split up, so Hari supVishnu is called the Supreme Soul and the ports (them). souls in the body (of creatures) are quitted by (emanated from) Him. See for yourself that by all means the elements
forsaken by Hari,
(forsaken by him) are split up (whereas) by the elements held up by the god the world is supported, oh delighter of His (main) function as Vishuu consists in the Yadus.
that

power

of

him which

supports.

Samkarshana should have the appearance of Vasudeva but with a white body arid a blue dress, oh best
lord
of the

The

Yadus.

In place of gada, the pestle (should be represented) and in place of chakra, the plough. They should be endowed

112

TRANSLATION

with the forms of men, furnished with beauty and with

thin middle.

appearance of he is green like the dSr^a-sprout and wears a white garment. In place of the wheel should be the bow and in place of the club the arrow and the plough and spear

Pradyumna again

should

have

the

Vasudeva but

should be shown similar to them

bodies).

(i.

e.,

assuming human

(One) should make this image, too, for Aniruddha, with a body of the colour of the lotus-petal and wearing
a red cloth.

The

In place of the wheel should be the sword. personified shield should have the appearance of chakra
(but)

high Their beautiful real forms in the shape of weapons should be partially shown on the heads of chakra and others, oh descendant of Yadu.
personified
stature.

the

sword

is

rendered as a

man

of

The distinguished ensigns of the gods should be shown on the left side and mounted on staffs and furnished with
their (own) symbols.

(One) should
colour.

make

the

porter

of

Vasudeva

of

yellow

The two

heroes,

Subhadra and Vasubhadra by

name have

darts in their hands.

Asadha and Yajnatata should be door-keepers for Samkarshma. Illustrious they (are) of a blue colour and carry
clubs.

The door-keepers

of

Pradyumna

ar> Jaya and

Vijaya,

Oh

illustrious (king), they are of a

white colour and carry

swords.

Amoda and Pramoda

gods, of
a

of great strength, the chief of

the

white colour and carrying

all

spears

should

be

known
good

as the porters of

They should
figures.

Aniruddha, oh prosperous (king). be decorated by all ornaments and with

They should have two hands with

forefingers raised.

TBANSLATION

118

Their glance should be directed towards the door, oh strong-

armed

(king).

Subhadra to be Sakra and Vasubhadra, HutSsana (i.e., Fire-god) and know A.sadha to be Yama, the chief-god of gods, oh descendant of Yadu.
the unreproachable god Virupaksha and Jaya to be Varuija, the great lord of the waters.

Know

Know Yajnatata to be

Oh delighter of the Yadus, know Vijaya and Amoda as Kuvera and Pramoda as Siva.
They
all

to be*

Pavana

should be with bodies as described by Diftnaga. So they have been thus described again by the high-souled
(sages).

Oh king, (these are) the eight attendants of gods and hear me speak about them. The porters of Vasudeva are
regarded as cwima
ness
at
will).

power and laghima (the power atom)

(the

of

becoming

as small as an

of

The
power
of

porters
of

of

assuming excessive lightSamkarshana are named

size
at
at
will)

mahima

(the

increasing

and

The will). obtaining anything prapti (the power two regarding Pradyumna are called Prakamya (irresistible one of the eight siddhis or superwill) and isitva (greatness
natural attributes).
of

Know Amoda

to be vasitva (the

power

control,

one
all

revered by
(the

the eight siddhis). Know Pramoda, to be there where (rests) kamavasayita people
of

power

of

suppressing

passions

one of

the

eight

siddhis).

you (the process of) making the image of the four-formed God. (He) called Vaikuiitha should be made having one form only.

Thus has been described

to

He, the Lord should be made with four

been) described before.

and (has The four-fold face being shown he

faces
(deity),

becomes the four- formed

15

114

TRANSLATION
The
eastern should be placid

which

all

know

to

be the

chief.

The southern

one, the face of knowledge, should be

made resembling
That
(aisvarya).

a lion-face.

western face

which

is

terrible

is called

wealth

Other features of the four faces should be

rendered as described.

Oh

delighter of the Yadus,

Tarkshya (Garu<Ja) should

be made four-armed.

Oh

pious (king),

Garuda should be made with hands

joined in the anjali pose.

On

Seated on his back happily he carries the lotus in hand. the wings of Garuda, Gada and Chakra should be

seated.

Sitting on Garucja as
Sri should be

her seat or seated

oni

the

left

lap

shown

or the

God should be rendered charming

seated ont the Sesha serpent.

Shaded by his hoods the face of the god may be seen with difficulty and the four hands of the (god) seated on

Near him should be the serpent are empty. wheel (chakra) and the club (gada) with human bodies.
the $esha

Lakshml again should be on

the Sesha serpent.

his (left lap) or

seated

on

Or the
bedstead.

glorious Hari, should

be

lying

on Seshaas his

When lightning 1 described by me.

The form
of

appeared

(He

is)

with a figure as

Nfsimha has been described by me

Kapila,

as

also

Visvarupa, Hayagrlva, Padmanabha, that of Brahma, Kudraand Kama (was described) by the high-souled Pushkara. The god Vamana should be

that of Varaha,

with narrow

joints, but

with a flabby body, carrying a

1

staff

Corrupt text.

^EANSLATION
and ready for study, (He) should be green and wearing black (or) antelope-skin.
like the

115

durva

Trivikrama again should be of the colour of the water laden cloud, carrying the staff and the noose and with the

conch kissing his

lips.

His conch, wheel, club and

their natural conditions,

lotus should be

made

in

should not be with

human

bodies

and the rest should be as aforesaid.

The god should be shown with expanded eyes with a The form of Nara as well as of Narayaija was face raised. described to you before and that of Krshna with Hari and
the son of Varuna.

Hamsa, Matsya and Kurma should be

represented bearing (their

own
of

natural) appearances.

But Janardana, the god

horned
fish.

gods, should be

shown

as a

(He) may again be made as a female ornamented by all ornaments. In his hand should be the 1 King Prthu (who is very liberal) should be nectar-pot. represented with the characteristics of a chakravartin.

Kama,
with his

the descendant of Bhrgu, should be awe-inspiring

circle

of

matted locks.

In his hand, wearing

the black antelope skin, should be the axe.

Kama,
of

the son of Dasaratha, should be marked by marks

Bharata, Lakshmana and &atrughna of great renown should all be represented similarly but devoid of crowns. Valmiki should be fair and almost hidden, from
a king.

sight by the circle of matted locks.

Calm and engaged plump. One should

Valmiki.

in asceticism, he give to

is

neither
all

lean

nor

Dattatreya

the

marks of

Vyasa is of dark complexion and with a calm mien. His four disciples, Sumanta, Jaimini, Paila, Vaisampayana,
1

Probably referring to tbe mohini form of Vishnu.

116
of

TKAtfSLATION
browfc

complexion

and heavy matted

locks

should

be by their sides. Them Yudhishthira should be marked by the marks of a king.

Vrkodara should be shown with a beard, a very plump body, (but) lean middle, with bent glance and contracted
eye-brows and carrying a club. Arjuna should be made beautiful, adorned by all ornaments, wearing kirlta and red armlets, green like the durva and carrying a bow and
arrow.

Nakula and

Sahadeva should both be

like

the

Asvins but carrying swords and shields and not medicinal Krshija should be very beautiful resembling in plants. colour the blue lotus-leaf. Devaki should be pale-red like
the tip of the padma-leaf
.

Yasoda similarly should be of the colour of the Madhuka That goddess, a part of the Supreme Being, carryflower. ing a padma in her hand and with the left hand resting
on the waist
Krshna.
garment,
should
be

standing
white,

between

R5ma

and
blue

Vala

should

be

wearing a deep

with eyes dilated through (drinking) wine, kundalas and carrying the plough-share and the wearing Krshna should be of the colour of the blue-lotusclub.
petal and

carrying
beautiful

Bukmin! should be brown carrying the wheel. and Satyavama should be very a blue lotus
and riding on Garuda.

Other wives should be shown as very charming and very

beautiful.

Pradyumna should be
the arrow.

good-looking, carrying

the

bow and

king, lord Aniruddha again should carry the sword and the shield, wearing a white garment green like the dfmw-sprout and excited by drink.

Oh

Samba should be made specially beautiful carrying a Samba and Aniruddha should be made lotus-coloured alttb*
and with red garments and by their sides should be two female attendants with swords in hands*

TKAJSSL'ATION

117

Yuyudh&na should be

tall,

carrying the

bow and

the

arrow, with beautiful eyes, with long arms and by colour resembling the womb of the utpala (flower)
.

Oh
god
of
detail.

the (great) gods, are (scarcely) capable of being narrated in By the learned they should be represented (by)

king,

the

manifestations of Vishnu,

looking

at-

the Sastras properly and

by the exercise of

intelligen/ce.

INDEX TO CHAPTEES ON PAINTING

INDEX
Abhilashitartha Chintamani, 15.

Adbhuta, 59, 60.

Gandharva, 14, 38. Qaruda, 60, 62.

Adhama,

47, 59.

Adrshta, 10, 18. Ajanta, 5.

Airika, 15, 52.

Ghana, 62. Guhyaka, 33.

Harhsa,12,
14,

35,36,38, 41.

Arjuna, 4, AlKjha, 48. Alpona, 8.

Hanuman,
Hasya

60.

Hasa, 19, 59, 60. vide Hasa.

6.

Anga

18, 33.

Himavat,

Angula, 36. Aniruddha, 4, 54.

Anotatta, 6. Anrju, 13, 43, Apsara, 33, 35.

Jaimiai, 4.

Jambudvipa, 33.
Jasoda,
4.

ArdhSrdha, 47. Ardhavilochana, 13, 43, 45.

Balarama,
4.

Kalinga, 18, 33.

Balita, 47. Bhadra, 11, 12, 14, 35, 38, 53. BhSrata, 33. Bhayanaka, 19, 59.

Kamasutra, 17. Karpataka, 55. Karuna, 19, 59. Kinnara, 14, 53. Kyshna, 4.
Ksatriya, 18, 33.

Ksaya, 14, 15, 47, 48, 61.

Bhikkhunis,

6.

Bhima, 4*. Brhat Samhita,

23-28.
Chalita, 47.

Lavanya, 46.
12,
14,

17,

Chetana, 10, 20, 61.

Chitra, 5, 31-33,47, 52, 61. Chitralakshana, 8, 14, 23-28.

Madhurya, 46. Madhya, 47, 59. Madhyardha, 47. Magadha, 18, 33.

Maha Ummagga

Jataka,

6.

Chittagara,

6*

MalavikagnimUra, 6. Malavya, 12, 14, 35, 38, 63, 54. Mana vide pramana.
,Mandala, 48. MiVra, 8, 51,

Daitya, 14, 33, 53, 54, 55.

Danava,
Devakl,

4,

33, 53.

4.

Mudrarakshasa,
bzair, 9.

7*

Dhulichitra, 8.

D'pag bsam Ijon

Drshta, 10, 16, 18. Dvapara, 33.

jrana, 54.

Naga, 14, 33, 53, 54, 59. Nagara, 8, 51. Nakha, 7. Nakula, 4.
Nata, 47.
Natya&fetra, 5, 10, 15, 19.
(121)

3andaparavftta vide Paravrtta.

16

122
Paila, 4.

INDEX
Siidra, 18, 88, 55.

Pallava, 18, 33. Panchalas, 18, 33.

Sukranitisara, 14, 23-28.

ParSvrtta, 18, 43, 45, 47. Parivrtta, 14, 43, 46.

Sumanta, 4. Sumeru, 6, 62.

Surasena, 18, 33.

PSrSvagata, 13, 43, 45, 47.

Patraja, 15, 52. Pigacha, 33, 53, 54. Pradyumna, 54.

Surasendrabhumija, 51.
Sushira, 62.

Svapna-VSsavadatta,
Tala, 25.

8.

Prakrti, 3.

PramSna, 14, 15, 46, 48. Pramatha, 53, 54.

Prasenajit, 6. Pratyallijlha, 47, 48. Prshthagata, 13, 43, 46, 47.

Talamana, 14, Tamas, 19.

Tarkshya, 60.
Ullepa, 47.

Pulindas, 18. Purohita, 14, 53.

Uttama, 47, 59.

Uttama-navatala, 14, 8-28. Uttana, 47. Uttarapatha, 33. Uttara Ramacharita, 6,
Urva^i, 9, 34.

Raghuvamsa,
Ragmala,

6.

10. Rajasika, 19. Rakshasa, 14, 33, 54. Rasa, 5, 19, 55, 59, 61.

Vahana, 56.
Vainika, 8, 51.

Ratnavall,

6.

Rekha, 6, 52. Bjvagata, 43, 47. Roudra, 19, 59. Ruchaka, 12, 14, 35, 38, 53, 54.

Vaikkha, 47, 48. VaWya, 14, 33, 55.

Vajralepa, 17. Vahlikas, 18, 33.
18, 33.

Rukmini, Rupa, 54.

4.

Vanga,

Varttana, 15.

Vasudeva, 54.
SSchlkftaSarlra, 13, 43, 47.

VSsuki, 33.

Sahadeva, 4. Saka, 18, 33. Sakuntala, 6. Samanata, 14, 43, 46.

Vaisampayana, 4. Vibhatsa 19, 59, 60.

Vichitra, 47.

Vidyadhara, 14,53, 60.

Vikrti, 3.

Samapada, Samba, 4.

48.

Vinduja, 15,52.
Vira, 19, 59.

Sarhkarshana, 54.
Saihvatsara, 14, 53. Santa, 59, 60. Sarvajna, 46. Sasaka, 11, 12, 14, 35, 38, 53, 55. Sattvika, 19.

Vishnu, 5, 54. ViSvakarma, 35.

Vrddha^alabbanjika, 18. Vrddhi, 14, 15, 61. Vyasa, 4.

Satyabhama,
Satya, 8, 51.

4,

Sigiriya, 15. Silparatna, 5, 8, 9, 19, 31, Siva, 5, 14, 46,

Yaksha, 14, 54. Yava, 25-28, 39. Yavana, 18, 33.

Yudhi$thira,
4.

INDEX TO CHAPTERS ON IMAGE MAKING

INDEX
Achyuta, 80.
Aditi, 95. Aditya, 94, 95. Agastya, 95. Aghora, 71. % Agni, 81, 9
.

Bilva, 106.

Brabma, 65, 68, 69, 72, 84, 85,

86, 114.

Aiduka, 20a, 20b, 108, 1C9. Airavana, 74, Aisvarya, 101, 103, 113.
Akrti, 73, Ambara, 84, 90. Amoda, 112, 113. Anala, 94. Ananta, 8ti, 87, 99. Angirasa, 94, 95.
Anila, 94, AnimS, 113.

Brabmapltha, 99, 100. Brabmi Lakshml, 107. Buddhi, 102. Budha, 91.
Chakra, 111, 114. Cbakravartin, 115.

Chamumfa, 97. Chaturmukha,

Chhandas, 99. Chhaya, 89.

94.

Chitragupta, 75 4

Aniruddha, 70,
112, 116.

75,

79,

80,

Anutubh,

89. AparSjita, 87, 88. Arjuna, 115. Artha, 96.

Dana, 10^. Danava, 104. Danayu, 95. Danda, 89. Danu, 95.
Dara, ^5.

Daapani,

94.

ArthaSastra, 99. Aruna, 89. Asatfha, 112, 113. Asura, 90. Asvin, 116.

Dasaratha, 115. Dattatreya, 115. Deva, 109. Devakl, 116.

Atharvaveda, 68, 98. Ayurveda, 99.

Bala, 96. Bhadrakall, 93. BhadrapHba, 100, 107. Bhagavan, 104. Bhaglrathl, 78.

Dhanada, 73. Dhanurveda, 99.

Dbarma,
102.

Dhanvantari, 98, 99. 72, 75,96, 99, 100, 101,

Dbarmasastra, 99. Dhrtaratra, 109.

Dhrti, 84, 102.

Dhruva, 94, 95,

Bhairava, 71, 72, 83, 84. Bbarata, 115.

Dhum6rn5,

Bhauma,

91.

Bhavisbya Manu, 95. Bhlma, 97. Bhrgu, 94,95, 115.

Bhii, 85.

75. DikpSla," 100. Diimaga, 113. Diti, 95.

Earth
110.
(120)

Goddess,

84,

87,

104,

126
Fever, 98.

INDEX
Kriya, 102.

GadS, 103, 111, 114. Gana, 109.

Gaiidharl, 84. Ganga, 77.

Krodha, 95. Krshoa, 101, 115, 116.

Kutnara, 93.

Kurma,

115.

Kuvera, 73, 78, 79, 99, 109, 113.

Garuda, 65, 69, 80, 114, 116. Gaurl, 77.

Gaurlsvara, 81. Gayatrl, 84, 86, 89.

Lagbima, 113,
Lajja, 102.

Guha, 93.

Lakshmana, 115. LakshmI/74, 84, 97, 102, 105, 106, 107, 114
106,

Hamsa,90,

115,

Hari, 67, 69, 84, 101, 103, 107,111,114, 115. Hayagrlva, 105, 114. HiranyakaSipu, 102. Hiranyaksha, 104. HutaSana, 113.
Indra, 67, 95, 98. ISana, 71, 81, 107. ISitva, 113.
Itihasa, 99.

Linga, 99, 100. Lokapala, 109.

Madasakti, 96.

Madhu, 106. Madhusudana, 107, Maghavan, 74. Mahadeva, 65, 71, 87. Mahakala, 84.
Mabesvara, 71, 72,
109.

95, 99, 107,

Mahl, 85, 99.

Mahima, 113.
JagatI, 89. Jaimini, 115. Janardana, 65, 103, 109, 115. Jaya, 87, 88, 112, 113.

Makara, 77, 80, 97. Manibbadra, 96.

Maiiu, 89, 92, 99.

Marut, SO.
Mati, 102.

Jay a Lakshml, 107,

Jayanta, 95. JayantI, 87, 88. Jnana, 101.
Jyotisa, 99. Jyotsna, 96.

Matsya, 115.

Medha, 102.
Mlmariisa, 99.

Moon, Mrga, Mrgu,

88.

90.
80.

Kadru, 95.
Kaitabha, 106.

Muni, 95.
Nakula, 116. Nalakuvera, 96.

KSk, 75, 76, 83, 98, 102. Kalaratri, 75, 84. Kalasastra, 99.
Kama,
96, 99,

Nandaka, 70.
Nandi, 96. Nandivaktra, 71. Nara, 90, 115, NSrasimba, 65, 10>, 108. Naraya^a, 01, 115.
1

Kamavasayita, 113.
Kapila, 65, 99, 114.

Kastha, 95. KaSyapa, 95. Kesava, 107. Ketu, 91. Kha&i, 95. Klnasa, 73.
Klrti, 84, 102.

Nasatyas, 72, 73. Nidra, 96.

Nirrti, 81, 82, 83, Nirukta, 99.

Nysimha, 103, 114.

INDEX
Nrtyasastra, 99.

127

NySya, 99,

Padmanabha, 105, 114.

Paila, 115.
Parfakti, 89.

Sakra, 73, 74, 81, 95, 109, 113, Sakti, 86, 96. Samaveda, 98. Samba, 116.

Sambhu,

71,

74,81,82,97.

Paficharatra, 99. ParvatI, 81, 84.

Sarbbarshana, 70, 75, 76, 97, 99, 103, 105, 111, 113,

SSmkhya,
Sani, 91.

99.

PaSupata, 99, Pstanjala, 99. Pavana, 83, 113. Phalaveda, 99. Pindika, 10p,
Pirigala, 89. Prabhasa, 94.

Santana

(tree), 74, 105.

Santi, 102.

Saptadhatu, 90.
SarasvatI, 84, 86, 97. Sarva, 87. gastra, 86, 116.

PrSdha, 95.

Pradyumna,
116.

70, 77, 80, 112, 113,

gatakratu, 99. gatrughim, 115.

gatya,
10^5.

Prajapati, 94, 95, 97, 99. Prakamya, 113.

Prakrti, 72, 76, 81. Pramoda, 112, 113.
PrSpti, 113. Prlti, 96.

Satyabhama, 116. Saumya, 65. Savarna Manu, 92.

SSvitrl, 85. gesha, 86, 114.

Prthu, 115, Parana, 99. Purojava, 96. Pimisha, 67, 81. Pushkara, 96, 114.
Puafci, 84.

Siddhi, 102, 113. SikshS, 97.

Simhlka, 95. Siva, 65, 71,72, 81, Siva, 83,97, 113. Skanda, 93. Sky, 85.
Smrti, 102,

Rahu, 91.
Rajasrl, 107. Hajni, 89. Rama, 114, 115, 116. Rati, 77, 96. Ravi, 89.

Soma, 94, 96.

Sraddha, 84, 102.
Sraja, 90. Sri, 114.
Sruti,

10^.
1

Rddhi, 79, Revanta, 89, 92. Rgveda, 68, 98. Rikshubha, 89. Rudra, 67, 70, 71,
114.

Subhadra, 112, Sukra, 91, 95.

ult, 75.

13.

Sumanta,
94, 95, 99,

15,

Rukminl, 116. Rupa-Sampad,

Sachl, 73, 8 i.

Suparna, 80. Surabhl, 95. Surya, 89, 92, ?5, 100, 109. Sushka, 97.
Suvarehasa, 89. Svaha, 81.

73.

Svarga Lakshml, 107.

Tala, 80. Tapas, 102.
.

Sadaiva, 71. SSdhya, 94, 95.

SadyojSta, 71. Sahadeva, 116.

Tarkshya, 80, 113.

128
Tatpurusha, 71.

INDEX
Vayu,
81, 83, 94, 96.

Tumburu,

87, 88.

Tushtf, 102. TrimanSs, 90,

Vedas, 81, 82, 84, 105.

86,

98,

102,

Tristubh, 89, Trivikrama, 114.

Vijaya,87, 88, 112, 113. Vinata, 95. Vinayaka, 94, 106

Vlrabhadra, 96. Viruda, 109.

Tryambaka, 87.

UmSvaktra, 71. Ushnik, 89.

Vach, 90.
Vadail, 101. Vadl, 90.

Virupaksha,81, 83, 109, 11*. Visakha, 93 Vishnu, 65, 68, 70, 76, 79, 80, 84, 86,87, 91, 93, 94,95, 97,
102, 116.

104,

106,

111,

115,

Vahni, 81,93. Vaikuntha, 107, 113 Vairagya, 101. VaiSampayana, 115.

Vala, 116. Valmlki, 115.

Visvadeva, 94-

Visvakarma, 94.
Visvarupa, 107, 114. Vrhaspati, ,1, 95. VrhatI, 89. Vrkodara, 115. Vraa, 90, Vyasa, 115.
(

VSmadeva, 71. Vamana, 114.

Varaha,65, 103, 104, 114.
Varchas, 96. Varuna, 73, 76, 77, 78, 80, 94, 95, 97,99, 109, 115. Varunl, 97, VaSitva, 113. Vasu, 94.

Vyavasaya, 101.

Vyoma,

90, 100, 101.

Yajfia, 102.

Vasubhadra, 112, 113. Vasu Dbara, 94. Vasudeva, 70, 74, 77, 80, 93, 97, 110, 111, 112,113. Vasuki, 72.
Vata, 81, 82.

Yajnatata, 112, 113. Yajurveda, 68. Yaksha, 79. Yaraa, 73, 74, 75, 76, 80, 92, 96,

Yamuna,

109, 113. 77, 78. YaSoda, 116. Yudishthira, 115.

Yuyudhana,

1 1

6.

EEEATA
p.

3 line 22 read

"

For the
exists

sight

of

the

worlds
of
fl

He
For

with

"

instead

p.

3 line
5 line

p.

" 26 read " 16*

read

seeing the worlds (He) possesses" " " instead of ^artists artist

,,
,,

p.
,,

p.
,,
, ,

" " " " instead of would might " read ,, line 20 painting and image making seem " " " to instead of painting must " " " 8 line 6 read instead of genre gentry" " " Footnote read "Laufer" instead of Dauffer ,, " " " " 9 line 9 read Eaurava instead of Eauraa " " " 8 " line
,,

and image painting " " instead of painting

making

line

16 read

,,

21 read

seen)

instead of

seen

, ,

Footnote read

' '

Lauf er
8

' '

instead of

' '

Lauffer

' '

,,

,,

Footnote read
line

"

Greek
* c

"

instead of

"

p.

11

19 read "namely, what influence

'
f

Greek "

instead of

namely,
, ,

line

33 read

' '

men
"

'

astrologically

instead of
p.
p.

"

determined/

38

line

read
read

40

line 19

" "

toe

instead of

men/' " " toes

instead of

robbing)

the... lustrous."

"

robbing
p. p. p.
,,

the... lustrous)/'

43 line 12 read "^fz" instead of "^R" 44 Footnote 4 omit "one" " " " " 60 line 21 read instead of palace place " " read i.e." insteaJ of ,, line 28 e.g."
65 line 20 read "ornaments," instead of ornaments " " " " instead of mottled matted read ,, line 16 " " " " 70 line 33 read instead of cutting of cutting off

p..
,,

p.

EEEATA
p.

71 Footnote read "

87 line 28 read

"
i.e., tejas
' '

instead of

"
i.e.,

eight

"

tejas

p.

Jaya and Vijaya" instead of " and Vijaya

,,

"

Jaya

p. p,

88 hoes 1 and 2 read ,, ,, instead 109 line 23 "Dhptarftshtra"

of "Dhrtarftgtra"