Ques.

Discuss important aspects of Chitrasutra in your own words focussing on any one
painting.

Ans. Chitrasutra is that part of the Vishnudharmottara which deals with the art of painting. The text
deals not only with its religious aspects but also, and to a far greater extent, with its secular

applications.It’s compiler 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. He compiler described it as “the legacy of the collective wisdom of the finest minds”

“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” Chitrasutra mentions proper position, proportion and
spacing; gracefulness and articulation; resemblances; increasing or decreasing (foreshortening) as
the eight good qualities of a painting. A picture in which all aspects are drawn in acceptable forms in
their proper positions, in proper time is excellent.

Chitrasutra regards expression of eyes as paramount and considers the essence of the subject to
pour out of the eyes. It goes on to describe five basic types of eyes and tells the artist that eyes are
the windows to the soul and it is through these that the figures in the paintings speak to the viewer.
These were therefore the final and most important part of the painting, many a time painted in the
presence of a master or directly by himself. This was called ‘Opening of the Eyes’. No wonder then
that the expressive eyes of the subjects in Ajanta paintings have and still influence generation of
Indian artists.

Chitrasutra texts are very clear on the fact that a painting isn’t created with methods but is
expressed by artists’ soulful visions. the murals in the caves of Ajanta and that of
Kailasanatha temple of Ellora or Cave-temples of Badami in Karnataka and Sittanavasal in
Tamilnadu, the earliest surviving Indian painting with good details.

 Even among these; Ajanta murals, probably of the early 6 th and 7th centuries stand out in popularity.
These followed the golden Gupta age.

These paintings depict the life of Buddha Shakyamuni on his way to enlightenment. Buddha who has
attained Bodhisattvatva is the central figure. He is tranquil, holding a lotus in divine serenity. He is
also called Padmapani (the bearer of lotus). The sublime peace that pervades Padmapani in this
Indian masterpiece is remarkable.

The serene, detached Padmapani is shown amidst contrasting paintings teeming with lively, vibrant
worldly beings around and on the ceiling. The variety is innumerable: animals, mythical creatures,
princesses, maids, soldiers, mendicants, merchants and so on.

These characters while being so much in contrast to the stance of the central figure
of Padmapani actually amplify his detachment and play a role in complimenting the central figure.

These paintings were created with a plethora of knowledge that came to these artists through oral
traditions solidified inpractice by generations of artists that painted palaces, temples and caves. The
complex technical knowledge and narrative mastery possessed by artists of Ajanta indicates
existence of several Schools of art, all expert in creating colors, painting techniques and procedures
to prepare mural surface.
Ques. Explain the importance of Bhava and Lavanya Yojanam giving relevant examples.

Ans. Bhava means an emotion, a feeling, an intention, or an idea. This aspect of art is depicted in
the form of feelings expressed by the subject. It is the expression of the character which fulfils the
meaning of the painting and the concept or the story behind. For eg: In padmapani, because he is
Buddha the expression of the prince is peaceful, compassionate, subtle, and serene. Beauty and
grace cannot be imparted to the image by any cut and dried rule. It must come from the heart of the
artist and sculptor. Bhava is the representation of sentimental grace in posture and is the action of
feeling of form. The expression of sentiments has been taken as one of the most important things in
painting. Our eyes see the emotions and the same are expressed by graceful distortion of face. But
the deepest expressions of the same are felt by heart only. Thus showing of disposition or posture
only is not enough in a painting.

The painting should be gracefully high in its artistic quality. The pramanani is for stringent
proportions, and bhava is for expressing movement. But, lavanya yojanam is for controlling the
overexpression of both. The motive is to bring about a sense of beauty in a dignified and organised
manner. Infusion of grace, it is a planning to create a beautiful and graceful environment, along with
the beauty of the character. For eg: : Radha & Krishna with gopis, Pahari miniature, India The beauty
and charm is rendered in the Pahari painting of Bhagvata series where romance of Radha and
Krishna flows in the woods and greens. Lavanya-Yojnam enhances the beauty and grace of artifacts.
The painting will look monotonous if beauty or grace is not there. Shri Avanindra Nath Tagore has
elaborated the Lavanya-Yojnam in his "Six Limbs of Indian Painting."“Bhava is the expression of inner
beauty and lavanya is the making manifest of the outer beauty by adding grace and charm to it.
Lavanya-Yojnam gives gleam to beauty”. As the food without salt is tasteless, in the same way a
painting is tasteless without Lavanya-Yojnam. But as the improper use of salt makes a meal bitter
and tasteless in the same way the un-proportionate Lavanya could not make a good painting, so only
balanced Lavanya-Yojnam should he there in a painting or work of art.