Chitrasutra 1

Amity School of Fine Arts
Chitrasutra of
Vishnudharmottara Purana
Manual of Painting
• The Vishnudharmottara Purana or the Vishnudharmottara

written around 6th CE is a supplement or an appendix to the
Vishnu-purana.
• The part three of the Vishnudharmottara talks about branches,

theories, methods, practices and ideals of Indian painting.
• The text deals not only with its religious aspects but also, and
to a far greater extent, with its secular applications
• The Vishnudharmottara asserts that it is but a compilation and

is attempting to preserve the knowledge that was hidden in
older sources.
• Sadly, all those older texts are lost to us. Vishnudharmottara is
thus the earliest elaborate treatise (text/ shastra) available to us
• Myths do record the existence of a painting tradition e.g. Myth
of Usha and Aniruddha from Banasurkatha
• Chitrasutra is that part of the Vishnudharmottara which deals

with the art of painting.
• Its compiler described it as “the legacy of the collective wisdom

of the finest minds” .
• He said it was his firm belief that paintings are the greatest
treasures of mankind as they have the aura and power to
beneficially influence the minds and lives of the viewers
• “Of all arts, the best is chitra. It is conducive to dharma and has the
virtue to liberate (emancipate) an individual from his limited
confines”
“Wherever it is established- in home or elsewhere- a painting is
harbinger of auspiciousness.”
“A painting cleanses and curbs anxiety, augments future good,
causes unequalled and pure delight; banishes the evils of bad
dreams and pleases the household -deity. The place decorated by a
picture never looks dull or empty”
Interconnection between various arts as

seen in Chitrasutra
•
According to Markandeya:
• Without the knowledge of music one cannot understand natya. And,

without the knowledge of natya one can scarcely understand the
technique of painting. “He who does not know properly the rules of
chitra (painting) ” declares the sage “can scarcely discern the essentials
of the images (shilpa)”.
• So the grace, poise and fluidity of Natya had to be incorported in

painting
• The Chitrasutra says The moving force, the vital breath, the life-
movement (chetana) are to be explicit in order to make the painting
come alive with rhythm and force of expression .
• The imagination, observation and the expressive force of rhythm are the
essential features of painting”.
• So focus is on the expressiveness and rhythm of the work…Bhava-
chitra
Qualities of a good artist

• He who paints waves, flames, smoke and streamers
fluttering in the air, according to the movement of the
wind, should be considered a great painter”
He who knows how to show the difference between a

sleeping and a dead man ; or who can portray the visual
gradations of a highland and a low land is a great artist
• Chitrasutra mentions:
• proper position,
• proportion and spacing;
• gracefulness and articulation; resemblances;
• increasing or decreasing (foreshortening)
as the eight good qualities of a painting.

Ajanta
Painting
• According to Chitrasutra, all works of art including paintings

played an important role in the society.
• The text mentions about the presence of paintings as

permanent or temporary decorations on walls of private
houses, palaces and of public places. Apart from wall
paintings, the floors of the rich homes and palaces were
decorated with attractive patterns and designs inlaid with
precious stones.
• Chitrasutra observes: the pictures which decorate the
homes should only display sringara, hasya and shanta rasa..
• Pictures depicting horror, sorrow and cruelty should never

be displayed at homes where children dwell.
• The text says, the pictures of all types of depictions and

rasas could be displayed at court-halls, public galleries and
temples.
• The patas (poster like paintings) were commonly displayed

in public squares. It is mentioned, such paintings were
employed as a means and method of communicating with
the towns people.
• The messages displayed picturesquely on the patas could be

understood even by illiterate people…so painting used a
tool for communication
Artistic Concerns
• While discussing the elements of a painting, the Chitrasutra
says “ The masters praise the rekha's –lines (delineation and
articulation of form); the connoisseurs praise the display of
light and shade; women like the display of ornaments; and , the
richness of colors appeals to common folks. The artists,
therefore, should take great care to ensure that the painting is
appreciated by every one
• Talking about lines, Chitrasutra favors graceful, steady, smooth and

freeflowing lines; Its masters valued the effects best captured by
least number of lines.
• Simplicity of expression symbolized the maturity of the artist.
The text appears to hold the view, while delianation, shading,

ornamentation and coloring are the decorative aspects (visual) of a
painting, the rekha, the lines that articulate the forms are its real
substance.
major importance given to lines in Ajanta paintings which are

contemporary to the text
• Incidentally, the main characteristics of the Ajanta paintings are the use of
free flowing lines for delineating beautiful figures and their delicate inner
feelings; together with use of shading different parts of the body to
produce three dimensional effects in the images.
• The other was use of proper colors at times contrasting and at times
matching to create magical effects. These were precisely the principles
that Chitrasutra emphasized .
• Padamapani from
Ajanta (Cave 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.
• The text again and 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.
• A quality which can be seen in Indian wall paintings and

miniatures both where feeling is much more important than
the physical similarity

Chitrasutra 1

Uploaded by

Copyright:

Available Formats

Chitrasutra 1

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Chitrasutra 1

Uploaded by

Copyright:

Available Formats

Amity School of Fine Arts

• The Vishnudharmottara Purana or the Vishnudharmottara

• The part three of the Vishnudharmottara talks about branches,

• The Vishnudharmottara asserts that it is but a compilation and

• Chitrasutra is that part of the Vishnudharmottara which deals

• Its compiler described it as “the legacy of the collective wisdom

Interconnection between various arts as

• Without the knowledge of music one cannot understand natya. And,

• So the grace, poise and fluidity of Natya had to be incorported in

Qualities of a good artist

He who knows how to show the difference between a

as the eight good qualities of a painting.

• According to Chitrasutra, all works of art including paintings

• The text mentions about the presence of paintings as

• Pictures depicting horror, sorrow and cruelty should never

• The text says, the pictures of all types of depictions and

• The patas (poster like paintings) were commonly displayed

• The messages displayed picturesquely on the patas could be

• Talking about lines, Chitrasutra favors graceful, steady, smooth and

• Simplicity of expression symbolized the maturity of the artist.

The text appears to hold the view, while delianation, shading,

major importance given to lines in Ajanta paintings which are

• As regards the shapes of the boards and scrolls, Chitrasutra

– sathya- realistic pictures in oblong frames;

• A quality which can be seen in Indian wall paintings and

You might also like