Chitra Sutra 14

*.
In a picture one should carefully avoid placing one figure in front of

another.
*.A painter who does not know how to show the difference between a
sleeping and a dead man or who cannot portray the visual gradations of
a highland and a low land is no artist at all.
*. A picture shaded only in some parts and other parts remaining un-
shaded is bad (adhama)
*. Representation of human figures with too thick lips, too big eyes and
testicles and unrestrained movement are defects.
6.4. Chitrasutra cautions that an inconvenient painting stance or a bad

seat , thirst, restlessness, sloppiness and bad temper would spoil the
picture.
6.5. Chitrasutra also mentions six limbs (anga) of painting as: rupa-
bheda (variety of form); pramana (proportion); Bhava (infusion of
emotions); lavanya-yojanam (creation of luster and having rainbow
colors that appear to move and change as the angle at which they are
seen change); sadreya (portrayal of likeness); and varnika-bhanga (color
mixing and brushwork to produce the desired effect)
(i). Rupa-bheda consists in the knowledge of special characteristics of

things natural or manmade. Say, the differences in appearances
among many types of men , women or natural objects or other subject
matter of the painting.
(II). Pramana: correct spatial perception of the objects painted and

maintaining a sense of harmony, balance and a sense of proportion
within the figure and also in its relation to other figures; and to the
painting as a whole. The sense of proportion also extended to the way
major figures are depicted by placing at the centre and surrounding
them with lesser figures in smaller size symbolizing their status Vis a
Vis the main figure. The Indian artists were guided more by the
proportions than by absolute measurements. The proportions were
often symbolic and suggestive.
(iii). Bhava: consists in drawing out the inner world of the subject; to
help it express its inner feelings. It takes a combination of many factors
to articulate the Bhava of a painting; say , through eyes, facial
expression, stance , gestures by hands and limbs, surrounding nature,
animals , birds and other human figures. Even the rocks, water places
and plants (dead or dying or blooming or laden) are employed to bring
out the Bhava. In narrative paintings, the depiction of dramatic effects
and reactions of the characters from frame to frame demands special
skill.
Since color is a major medium in painting, the emotions and moods are
expressed through manipulating colors, their density, tones, lines, light,
shades etc. The ingenuity, imagination and skill of the artist discover
their limitations here..
(iv). Lavanya yojanam: Creation of grace, beauty, charm, tenderness
and illuminating the painting and the hearts of the viewer. It aims to
uplift and brighten the mood of the figures, the viewers and the
surroundings.
Varnika-bhanga: Artistic manner of improvising color combinations,
tones and shades. It also involves delicate and skillful use of brushes
and other aids. It represents the maturity of the artists techniques and
fruitfulness of his experience.
7. Types of presentations
7.1. The paintings were executed on various surfaces: wall paintings

(bitthi), pictures on board (phalaka), on canvas (pata), on scrolls (dussa-
pata) and on palm leaf- mascripts (patra). The last mentioned, i.e. the
scrolls were often in the shape of lengthy rolls facilitating continuous
representations. The Chitrasutra instructed that the surface chosen
should suit the purpose of the proposed painting; and, in any case, it
should be smooth and well coated (anointed). That would help achieve a
better presentation of the painting.
7.2. As regards the shapes of the boards and scrolls, Chitrasutra

mentions four types: sathya- realistic pictures in oblong frames; vainika-
lyrical or imaginative pictures in square frames; naagara-pictures of
citizens in round frames; and misra mixed types.
7.3. It is explained in the text ,a painting which bears

resemblance (Sadrishya) to the to things on earth with their proper
proportions in terms of their height, their volume (gatra), appearance
etc. is the true to life(satya) category of painting. The resemblance
should not be mere general; but, it should extend to details, such as all
parts of the tree, creeper, mountains or the animals.While a painting that
is rich in details, in display of postures and maintaining strict
proportions; and when placed in a well finished square format is called
vainika. It obviously is the delight of the connoisseurs. The nagara
depicts common folks with well developed limbs with scanty garlands
and ornaments. And, misra is the compound of the other three.
The text again cautions that an artist should not aim to copy. He may
depict the resemblance but, more importantly, he should aim to bring
out the essence or the soul of the object.
7.4. The concern of the artist should not be to just faithfully reproduce
the forms around him. The Chitrasutra was referring to what is now
termed as the photographic reproduction. It suggested , the artist
should try to look beyond the tangible world, the beauty of form that
meets the eye. He should lift that veil and look within. The Chitrasutra
suggested to him to look beyond The phenomenal world of separated
beings and objects that blind the reality beyond.

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What are the six limbs of painting mentioned in the text?

What are the different types of presentations of paintings discussed?

*.

In a picture one should carefully avoid placing one figure in front of

6.4. Chitrasutra cautions that an inconvenient painting stance or a bad

(i). Rupa-bheda consists in the knowledge of special characteristics of

(II). Pramana: correct spatial perception of the objects painted and

7.1. The paintings were executed on various surfaces: wall paintings

7.2. As regards the shapes of the boards and scrolls, Chitrasutra

7.3. It is explained in the text ,a painting which bears

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