365bet娱乐

ART IS SYNONYMOUS with Silpa and Kala, or more precisely, with Silpa- kala and is the subject matter primarily of the Silpa-sastras. The traditional list of sixty-four arts is, however, referred to in at least three other classes of our literature. The mythological group includes the Srimad-bhagavata, the Harvamsa and the Vishnu-purana. The Buddhist-Jain group is represented by the Lalita-vistara and the Uttar adhyayana-sutra. And the crotic group consists of the Kama-sutra of Vatsyayana and others. The mythological group : Kes mention of arts in connexion with the various kinds of know Are acquired by Krishna and Balarama. In the text of the Smua hagavata, however, only the number, not the specification of the arts, is given. It is stated that the sixty-four arts were learnt in so many, that is sixty-four, days. 1 But of its numerous commentators, some supply both the number and the specification, while others only the number.² The commentators Vira- raghavacharya and Vijaya-dhvaja-tirtha, who make mention only of the traditional number of arts as sixty-four, do not disclose the source of their information. Visvanatha-chakravartin also does not specify the sixty-four arts, but he mentions the 1 provaca vedanakhilan sanagopanisado guruh | sarahasyam dhanurvedam dharman nyayaparamstatha || tatha canviksikividyam rajanitinca sadvidham | sarvam naravarasresthau sarvavidyapravartaka || sakrnnigadamatrena to samjagrhaturnrpa | ahoratramscatusastya samyatau tavatah kalah || -- (Srimad-bhagavata, Part x, Chap. XLV, verses 33-35.) 2 (a) ahoratranam catuhsastya catuhsastisamkhyakaidivasaisratuhsastividyah samjagrhatuh | (b) catuhsastya samnakhyatairahoratre kalavayavastavatih vidya ityarthah | -(Vijaya-dhvaja-tirtha). (c) tavatincatuhsastikalah tah saivatantre drastavyah | www.mcde -(Vira-raghavac¹arya). tavatsanakhyah kalah catuh takalah - (Visvanatha-Chakravartin). (d) tavatiscatuhsastikalah tasca saivatantrokta likhyantam yatha gitam ityadi | -(Sridhara-svamin.) I

Saiva-tantra as his source. Sridhara-svamin and Vallabhacharya also, who give a detailed account of the sixty-four arts, derive their information from the same source. The Saiva-tantra, however, it should be noted, is not the name of a book, but is a branch of mystic literature which can hardly be identified for the verification of the names and other details of the arts. Sukadeva, another commentator, who also specifies the sixty-four arts, quotes in toto from his authority named Vidyasangraha-nibandha, which, as its title indicates, is a mere compilation from some other sources. Lastly, Jiva-gosvamin, who also describes the sixty-four arts in detail, appears to have derived his information from the Vishnu-pura na and the Harivamsa, which is a supplement to the Mahabharata. Thus, as quoted by Jiva gosvamin, the Vishnu - puranat and the Harivamsa admit, indirectly though, a familiarity with the sixty-four arts, and state that the sixty-four (arts) were learnt in sixty-four days. The former, further, adds that it must be wonderful ( adbhuta) to learn sixty-four arts in sixty-four days, while the latter explains this wonder by saying that Krishna and Balarama had extraordinary memories (Srutidhara). The impracticability of learning sixty-four arts in no more than sixty-four days did not strike any of the commentators of the Srimad-bhagavata, presumably either because they were not at all familiar with the extensive knowledge demanded from and the wide field of study required for each of the sixty-four arts, (e) ahoratraiscatuhsastagha samyatti tavatih kalah | samyattau ramakrsnau catuhsastisanakhya kairahoratrastavatih catuhsastikalah vidyah samjagrhatuh | tascokta vidyasamgrahanibandhe | - (Suka-deva). (f) yavatih kalah samjagrhaturiti catuhsastikalah | samgrahe etavantyahoratrani akhilaveda- disamgrahenapyahoratrani jneyani | kalanam namani taireva likhitani, svarupani tu lekhyani | tatha ca srivisnupurane harivamse ca | -(Jiva-gosvamin). (g catuhsastisamkhyayuktah ahoratrah samyattau tavatih kalah catuhsastikalah samjagrhatuh | ekasyam kalayam bahuprakarah bahavo granthah | siksa ca mahatim tathapyeka kala ekasminneva divame siksita | tah kalah saivatantrokta likhyante gitam ityadi | 1 sarahasyam dhanurvedam sasamgrahamadhiyatam | ahoratramscatuhsastya tadadbhutamabhudvije || 2 tau ca srutidharo virau yathavatpratipadyatam | ahoratramscatuh sastaya samgam vedamadhiyatam || 2 - (Vallabhacharya).

or because they might have had no doubt about the superhuman ability of Krishna and Balarama, which has been admitted on so many other occasions in the Srimad-bhagavata itself. But though equally mythological in character, this point has struck both the Vishnu-purana and the Harivamsa wherein an explanatory note is purposely added. In the former it is stated that it was wonderful (adbhuta) for Krishna and Balarama to learn sixty-four arts in sixty-four days, while in the latter they are stated to have been gifted with the power of remembering things by hearing only once (srutidhara). The explanation of the Harivamsa is more expressly admitted in the Srimad-bhagavata, where it is stated that they retained everything by simply listening only once.1 But in spite of all these explanations one cannot help thinking that at the time of the Srimad-bhagavata, as well as in the different times of its commentaries, there was no practical knowledge of all the sixty-four arts; because, otherwise, the authors of these treatises could not have passed over the point so light-heartedly; further, in other literature such an indifference is not met with. In the times of the Vishnu-purana and the Harivamsa, however, the state of things seems to have been different. The arts were then living objects; they were then more real, more practical; at any rate people had more familiarity with them. 6 The heretic group refers to the arts in connexion with the schooling of Bodhi-sattva and of Mahavira. It is stated in the Lalita-vistara² that Whatever Sastras are current in the regions, all figures and writings and calculations, all roots, all arts in their immensity current on earth were learnt by him in many millions of ages (kalpas).' In the Uttaradhyayana-sutra³ it is stated that 'He (Mahavira) studied the B 1 See above, p. 1, note 1; p. 2, notes 1 and 2. 2 sastrani yani pracaranti ca devaloke samkhya lipisca gananapi ca dhatutantram | ye silpayogaputhalaukika aprameya- Adaq farfer ageragHET HIED: 11 -(Chap. X, 1, p. 142, ed. Rajendra Lal Mitra). bavattari kalao ya sikkhai niikovie | jovvanena ya sampanne suruve piyadamsane || tasma ruvavai bhajjampiyajjanei ruvini | 1 .sae kilae ramme devi dogundao jaha || - (Chap. XXI, 6-7). 3

seventy-two arts, constantly applying himself to them, he was in the full bloom of youth, he had a fine figure and good looks. His father procured him a beautiful and beloved sweetheart, Rupini, with whom he amused himself in his pleasant palace, like a Dvikundaka god.' In the Buddhist and the Jain periods a far better knowledge of these arts are thus evinced. In the Lalita-vistara it is distinctly stated that ' all arts were current on the earth in their immensity (aprameya) and they were learnt in millions of years (bahukalpa-kotyah).' That youth and beauty are essential conditions for the cultivation of arts has also been admitted in the Lalita-vistara. Therein it is stated that when the Prince had duly grown up, he was taken to the school under a hundred thousand auspicious arrangNow Visvamitra, the school-master, feeling the beauty and glory of the Bodhi-sattva to be insufferable, fell prostrate on the ground."¹ ments. 2 6 In the Uttaradhyayana-sutra the number of arts is limited to seventytwo, but they are not specified anywhere in the text. The context also demands a different reading for the expression ni-i-kovi-e, as suggested in a similar context by the expression bahu-kalpa-kotyah (many millions of years) in the Lalita-vistara, in order to give a sense of the time or the close application of the mind required in learning the seventy-two arts. But what is really important is the fact that almost all the necessary circumstances under which the arts can be cultivated are more perfectly clear in this text. It is stated that the student of arts must be in the full bloom of his youth and must have a fine figure (surupa) and good looks (priyadarsana) himself; he must be united with a charming (rupavati) and beloved (priya) wife, who should be the personified beauty (rupini) to keep him constantly amused and refreshed; and lastly, he must have a beautiful palace (prasada) to live in.' In other words, a student of arts should be surrounded with all beautiful things both internally and externally; he should live in an atmosphere of beauty and youth; all his sense organs must be in a state to appreciate and enjoy; the eyes to see pretty things, the ears to hear pleasant sounds, the nose to smell fragrance, the tongue to taste sweet things, the skin to touch delicately 1 Lalita-vistara, Chap. X, Trans. (R. L Mitra), p. 181. " * It has been very curiously translated as "an acquired knowledge of the world (Jacobi, SBE, Vol. XIV, p. 108), which can hardly be the rendering of its Sanskrit equivalent Nitikovida. 4

soft objects, and, above all, the mind to think, to feel, and to will the beauties of arts. Youth and beauty as an essential condition for the cultivation and development of arts reached a fuller recognition and a more elaborate treatment in the erotic group of literature. In the Kama-sastra youth and beauty is the main theme. Whatever is discussed therein is nothing but a reference to the natural inclinations of young hearts of cultured men and women in their asthetic mood. Kama, or sensual desires, can only arise in the mind of youth in an atmosphere of beauty. A seed cannot germinate in the desert, nor can an artistic idea grow up in the fossilised heart of an old person. This fact has been fully recognized in the mythological and the Buddhist-Jain groups of literature also, for, in spite of their spirit being avowedly religious, it was necessary to train Krishna and Balarama on the one hand and Bodhisattva and Mahavira on the other in artistic and other matters, not in their advanced age but in their youth and in an atmosphere of beauty. This point can be abundantly developed by a reference to the extant arts of all countries, of all nations and of all sects. But before proceeding further with illustrations it would be convenient first briefly examine the traditional list of arts. In the Kama-sutra of Vatsyayanathe sixty-four arts are specified in connexion with the accomplishments to be acquired by men and women: to 1. Gita Vocal music, including everything from composition to singing, in all scientific manner and comprising four or five main topics.2 1 dharmarthangavidyakalananuparodhayan kamasutram tadangavidyasca puruso'dhiyita || arulanta zati pratta ca patyurabhiprayat | gitam, badyam, nrtyam vyayamikananca vidyanam jnanam, iti catuhsastirangavidyah kamasutrasyavayavinyah || * svaragam padagam caiva tatha layagameva ca | ceto'vadhanagancaiva geyam jneyam catuvidham || - ( Yasodhara on kama-sutra). tatra gitam ganasiksa gitanirmanam svajatiragabhedah talamatradiracanaprakarah sudhaka vadhakasvaradimelananam parijnananca | -(Jiva-gosvamin on Srimad-bhagavata). gitam ganasiksa gitakaranam ragabhedah tanamatradiracanaprakarah sadhakabadhakatananam parijnananca evamekasya gitasya | - (Vallabhacharya on Srimad-bhagavata). 5

2. Vadya -- Instrumental music, which also admits four or five varieties.1 3. Nritya - Dancing, which includes many more things than the ordinary connotations of the term.2 4. Natya - Dramatic and scenic art, including acting. Vatsyayana reads this much later in the list as Natakakhyayika-darsana, which means both seeing dramatic representation and reading stories in prose and verse. This deals with the ten kinds of drama and numerous other details which are essentially artistic in matter, spirit and form. 5. Alekhya - Painting, which includes six essential parts, namely, varieties of beauty, proportions, representation of sentimental grace, resemblance, colours, reliefs. 6. Viseshaka-chchhedya - Tattooing, specially referring to a kind of paint on the face which is stated to be liked very much by fashionable young ladics (vilasini ) . 7. Tandula-kusuma-bali-vikara- Obviously this refers to thrce sepa rate things, namely, the artistic arrangements of rice-mcal, flowers, and dishes. All the commentators seem to have missed the point. 1 dhananca vitatam vadyam tatam susirameva ca | kamsyapuskaratantribhirvenuna ca yathakramam || - ( Yasodhara on hama sutra). 2 karananyangavidyasca vibhavo bhava eva ca | anubhavo rasasceti samksepannatyasamgrahah || tadvividham natyamanatyanceti | tathoktam- svarge va martyaloke va patale va nivasinam | krtanukaranam natyamanatyam nartakasritam || 3 tantrantare tu nrtyabhedajnapanarthameva prthana natyakalokteti vijneyam | rupabhedah pramanani bhavalavanyayojanam | sadrsyam varnikabhanaga iti citram sadangakam || - (Yasodhara on Kama sutra ) Yasodhara on Kama-satra). 4 tandulanam kusumanam ca pujopahararupanam nanaprakararacana | - (Jiva-gosvamin). canakadvidale hastilekhanam tandulanam kusumananca aratrikarena valivikarah pujayam va sthapanaprakarah - ( Vallabhacharya). akhanditatandulairnanavarnaih sarasvatibhavane kamadevabhavane va manikuttimesu bhaktivikarah | tatha kusumairnanavarnairgrathitah sivalingadipujartham bhaktivikarah | - ( Yasodhara). 6

hey have curiously divided the phrase thus: Tandula-bali-vikara and Kusuma-vikara, and explain the former as referring to offerings to deities and the latter to making garlands also for worship. The context makes such interpretation untenable. These are essentially artistic matters and have nothing to do even with the worship of the god of love, as the commentator of the Kama-sutra thinks, as an alternative. Besides, worship of a deity is nowhere mentioned directly or indirectly in the list. The avowedly religious learnings are confined to the Vedas, Upanishads, Dharma Sastras, etc., which are separately taught, as stated in the mythological group. Moreover, the foregoing and the following topics make such an interpretation quite unconnected. It is easily understandable that an accomplished young lady must cultivate these arts as arts and not as religion. 8. Pushpastarana-Making beds of flowers. It, of course, refers to gardening, which is separately mentioned later on.1 9. Dasana-vasananga-raga²-This also refers to three separate arts, namely, the staining of the teeth, dyeing of cloth, and colouring of the body by means of powder, etc. 10. Mani-bhumika-karman-The art of setting jewels on the (marble) floor for use particularly in summer, as stated by Yasodhara.³ 4 11. Sayana-rachana-The art of bed-making. According to Jivagosvamin, and probably Vallabhacharya, 5 it refers to the making of bedsteads and couches, etc., which is an item of architecture mentioned as a separate art later on. According to Yasodhara, this is necessary for digesting the food and for enjoyment.6 Yasodhara guesses an alternative sense also: viz., making garlands with flowers which is separately mentioned later on. 2 3 Vallabhacharya passes it over, calling it as prZA | Jiva-gosvamin gives the real sense: puspadibhih sayanaracanam | spastam | Curiously, Vallabhahcarya detects a sexual sense here when he says: sayyadau dasanavasananam ragabhedah adharosthayoh laksanaparijnanam rasarthamesa pariksa | According to Jiva-gosvamin this should be done, as shown by the architect Maya in building a wonderful hall for the Pandavas (for details, see infra, p. 247 and the writer's Indian Architecture, 1 st Ed., pp. 166, 167, note 4). 4 paryankadinirmanam | B sayanam sayyasthanam tasya nirmanam | 6 鈥� sayaniyasya kalapeksaya raktaviraktamadhyasthabhiprayadaharaparinativasacca racanam | This is fully claborated in connexion with amf (vide infra). 7

12. Udaka-vadya-Playing on an instrument known as jalataranga, or china-cups containing varying quantities of water to regulate the tune and produce harmonic notes like musical glasses, or an instrument (invented by Franklin) the sounds of which are produced from bell-shaped glasses placed on a frame-work that revolves on its centre, while the rims are touched by the moistened finger. 13. Udaka-ghata-The art of making fountains, called jalastambha-vidya by Jiva-gosvamin.² 14. Chitra-yoga-Pictorial arts, i.c. various kinds of painting.³ 15. Malya-grathana-vikalpa-The arts of making garlands.4 16. Sekharapida-yojana--The art of putting on ornaments (of flowers) on the hair and top of the head.³ 17. Nepathya-prayoga-Scenic representations, the art consisting in putting on clothes and ornaments for the stage. This elaborates the art mentioned in the preceding item. According to Vallabhacharya this also includes the construction of the stage itself. 1 According to Yasodhara it is like the muraja or a drum. Vallabhacharya does not think of it seriously when he says, as sounds are naturally produced on water' : yatha svata evodake nadah spastibhavanti Jiva-gosvamin thinks that this music can be produced in a tank also : sarovaradisthapitabhande udakaparipuritapatre va madhurananananasamutthapanam | 2 Vallabhacharya makes it a childish play with water: yatha ahtamudakamupari gacchati adho gacchati viparitam va gacchati | Yasodhara also thinks it to be a play with water : hastayantramuktairudakamstadanam, and includes the preceding one also under a general heading of 'water-play." In fact Sridhara-svamin has included the two items (nos. 11, 12) under one heading. 3 Practically all the commentators have found it difficult to explain this. Jivagosvamin is vague when he interprets it as the means to see the various wonderful things: nanadbhutadarsanam samyagupayah Vallabhacharya thinks it to be the garlanding of flowers (fatam: :). Yasodhara, following him, sees sexuality everywhere and says that this supplements the act of a separate item (see below): nanaprakaradaurbhagya kendriyapalitikaranadayah | iyaya parabhi ( ? ni ) sandhanarthah | tanopanipadake vaksyati | ete ca kaucumarayogamsu nantarbhavantiti prthaguktah | kucumarena nepamanuktatvat | 4 Jiva-gosvamin passes over these seven items as too casy to understand. Both Vallabhacharya and Yasodhara make it unnecessarily to mean the making of flowers-garlands for the head, which is mentioned in the next item. 5 The skill consists here in artistically wearing and not making these ornaments. 8

18. Karna-patra-bhanga-Painting the cheeks before the ear with sandal and other pastes. Yasodhara thinks it to be a part of scenic representation. No doubt it is a special kind of toileting. 19. Gandha-yukti-Perfumery, or the art of making perfumes.¹ 20. Bhushana-yojana-The art of putting on ornaments on the various parts of the body. Yasodhara interprets it as the display of jewellery on the person for stage purposes and classifies under two heads, Samyojya and Asamyojya.² 21. Aindra-jala-The art of jugglery; according to Vallabhacharya it does not admit of a rational explanation and has twenty varieties which are, however, not specified. 22. Kauchumara-yoga-The arts as taught by Kuchumara, the author of the Aupanishadadhikara. According to the commentators. these refer to some unspecified tricks.3 Kuchumara need not necessarily mean the author of that name when no arts bearing his name 4 are generally known. The term 'kucha means the 鈿� female breast; hence it is just possible that the art may refer to the nursing or decoration of the female breast.5 6 23. Hasta-laghava Prestidigitation. The art is well known; this is extensively practised as an amusement in fashionable societies and considered to be an accomplishment for a young person. 24. Vichitra-saka-pupa-bhakshya-vikara-kriya--The cookery, or the art of cooking various kinds of vegetables, cakes, and (all other) catables. The vegetables comprise ten different things, namely, root, 1 Vallabhacharya suggests an alternative interpretation also: mafararznie: gotaaranmeo faufoi amargafaufanfor an 2 natra samyojyasya kanthikendracchandadermanimuktapravaladibhiryojanam | | asamyojyasya katakakunda- ladeviracanam yojanam | tadubhayam nepathyangam | na tu sarire bhusanayojanam tasya nepathyaprayoga ityanena siddhatvat | 3 svasminnabharupa vyanjana | bahurupakarah | - (Jiva-gosvamin). --(Vallabhacharya). subhagamkaranaya upayantarasiddhasadhanarthah | C ---(Yasodhara). 4 The reading kuchamara' is not, however, available; but when the authors of the other reading (kuchumara) are not clear about the sense, an emendation in the reading does not seem unjustified. It will be pointed out later on that some of these arts are meant for the females, some for males, and the rest for both males and females. 9

leaf, shoot (as of a bamboo), forepart, fruit, trunk, offshoot, skin, flower, and thorn.1 Cakes, including bread, are also of various kinds, but they are not specified. The eatables are divided into four classes, namely, (a) bhakshya or charvya, things to be eaten by chewing, (b) bhojya or choshya, things to be eaten by sucking, (c) lehya, or things to be licked, and (d) peya, or things to be drunk. The peyas are divided into two classes, namely, cooked (with fire) and uncooked. The former is called yusha and admits of two varieties known as soup and decoction. The latter also has two varieties called the asandhanakrta and sandhanakrta. The samdhanakrita are those which are made by distilling, such as fermented or spirituous liquors, and are divided into dravita and adravita: the former is made by mixing water, sugar, and tamarind, and is known as drink or spirituous liquor; and the latter is made of liquified herbs mixed with palmyra fruit and plantain flower (mocha),² and is called rasa, i.c. essence or juice. 25. Panaka-rasa-ragasava-yojana-Preparation of beverages. According to both Yasodhara and Vallabhacharya asava implies spirituous liquor and indicates intoxication of three kinds, namely, mild, ordinary, and high. The term raga is stated to imply three things, namely, those to be licked, powders and liquids tasting salt, tamarind, pungent and slightly sweet.³ Yasodhara thinks this, and the preceding item, may be included under one heading, namely, cookery. But a number of most useful arts are referred to here which are even at the present time practised separately. It should be noted that the stages of development 1 mulapatrakariragraphalakandaprarudhakam | tvaka puspam kantakanceti sakam dasavidham smrtam || - (Quoted from some unknown author by Yasodhara.) 2 Plantain grows out of this, which looks like the cauliflower or cabbage. a rago ragavidhanajnairlehyascurno dravah smrtah | lavanamlakatu svada isanmadhurasamyutah || -- - (Yasodhara quotes from some unknown work.) yogavibhago'gnijanagnijakarma- 4 etaccaturvidhamasvadyakalayam prapancitam sarirasthityaryam | darsanarthah | vidhirityuktam krtyokta | tatra pakena sakadikriya, vina pakena panakadiyojanam | anyatha hyasvadya tasmatkarmabhedadasvadyavidhanajo'pi dvividhah | tadvasadekapi kala dvidha svat | IO

and perfection in the art of making foods and beverages are the surest indication of the state of culture and civilization as well as of the economic condition of nations and communities. 26. Suchi-vaya-karman-Tailoring and weaving. According to Yasodhara tailoring is of three kinds, namely, sivana or sewing of coat, etc., utana or darning of torn cloth, etc., and virachana or making of bed sheets, etc. Weaving implics manufacture of cloth or the whole textile industry, including making of yarn, which is separately mentioned later on (see no. 36). up This 27. Sutra-krida The art of playing with thread and rope. According to Yasodhara the play consists in showing by sleight of hand a picce of thread in perfect condition after tearing it to pieces or burning it to ashes, and would imply a kind of magic. According to Jiva-gosvamin the play consists in moving dolls, etc., like living beings, with the help of a thread, and also walking on rope and unbinding oneself after having been bound with a a rope. would imply acrobatism in addition to magic. 28. Vina-damaruka-vadya-Playing on lute and small drum.1 These are included in the instrumental music, but they are specially mentioned, as Yosodhara says, first, because stringed instrumental music and lute music are very important, secondly, because they are difficult to learn especially at the commencement, and, lastly, because on these instruments the words (letters) played can be heard as distinctly pronounced. 29. Prahelika-Solution of riddles, charades, etc. 30. Pratimala-Modelling or making images, i.c. sculpturing. This interpretation is very definitely asserted by Jiva-gosvamin and Vallabhacharya.2 But Yasodhara interprets this in an entirely different way and says that it refers to a kind of versification beginning with a particular letter of a verse,³ but that is separately mentioned under a different heading (see no. 56). i See above, item no. 2. 2 adargulasfafaulu (Jiva-gosvamin). - vastunamanukaranam | - (Vallabhacharya). 3 yasya antyaksariketi pratitih | sa kridartha vadartha ca | yathoktam (in work): pratislokam kramadyatra sandhayaksaramantimam | pathatam slokamanyonya pratimaleti socyate || some unknown I I

Sculpture as an important art is well recognized and elaborately treated in a branch of literature like most of these arts. 31. Durvachaka-yoga-Mimicry, i.c. the art of an imitative resemblance in one animal to another or to some inanimate object in sound or sense, as stated by Yasodhara.¹ 32. Pustaka-vachana-Elocution, i.e. the art of effective speaking, more especially of public speaking, regarding solely the utterance. or delivery. This interpretation is supported by both Jiva-gosvamin and Vallabhacharya. But Yasodhara refers this to recitation in particular.³ 6 are 33. Natakakhyayika-darsana--Tableaux vivants, or what called living pictures.' The art consists in exhibiting a motionless. representation of a well-known character, painting, scene, etc., by one or more living persons in costume. That it is different from a dramatic performance is clear and needs no explanation. 34. Kavya-samasya-purana-Solution of verbal puzzles which are elaborately discussed in a class of literature known as Alamkara- sastra. 35. Pattika(petika)-vetra-vana-vikalpa The art of making bows (? sofa, basket), sticks, canes, etc., with thread. According to Yasodhara this art also includes the making of cane chairs, cane beds, ctc.4 36. Tarku-haraman 5-Making twist with a spindle or a distaff : this refers to the art of spinning. Weaving is separately mentioned (see no. 26). 1 sabdato'rthatasca | tasya prayogah kridartha vadarthasca | Vallabhacharya says that it refers to caturaksaradiprakara | Jiva-gosvamin adopts the ordinary sense : yadyadvaktum na sakyate tattadvaktusupayah | y atisighramavidyamananapi varnan yojayitva tadvacanam | 3 bharatadikavyanam pustakasthanam srngaradiramapeksaya gitatah svarena vacanam | narthamatmavinodartham ca | | anuragajana- 4 Vallabhacharya reads it differently, Patrika-chitra-vachana-vikalpa, and refers to ram-fighting, etc., which is however included under a separate heading (see no. 44). 5 Both Sridhara-svamin and Vallabhacharya misread it as Tarka-karman (debating). In Vatsyayana's Kama-sutra it is read as Taksha-karmani (carpenter's works); and the commmentator Yasodhara interprets it asus anaifa (making of balls with inferior materials). But carpentry is expressly mentioned in the next item. 12

37. Takshana-Carpentry, i.e. the art of wood-carving in making seats, beds, doors, etc.¹ 38. Vastu-vidya-Architecture, the different parts of which are assigned to sthapati, sutra-grahin, vardhaki and takshaka.2 It refers to the art of building and includes everything built or constructed, from the palace to the bird's nest and from the image of a god to that of an insect.3 Thus, in the first place, it denotes the construction of all kinds of buildings, religious, residential and military, and their auxiliary members and component mouldings. Secondly. it implies town-planning, laying out gardens, constructing marketplaces, making roads, bridges, gates, digging wells, tanks, trenches, drains, sewers, moats, erecting enclosure-walls, embankments, dams, railings, flights of steps for hills, ladder, etc. Thirdly, it denotes articles of house furniture, such as bedsteads, couches, tables, chairs, thrones, fans, wardrobes, clocks, baskets, conveyances, cages, nests, mills, etc. It also includes the making of garments and ornaments, etc. It discusses, as preliminary matters, selection of site, testing of soil,4 planning, designing, finding out cardinal points for orientation of buildings, dialling, and astronomical and astrological calculations.' Architecture also implics sculpture, like many of the other arts, and deals with the carving of phalli, idols of deities, statues of sages, images of animals, birds, fish and insects. 39. Suvarna-rupya-ratna-pariksha³-Testing of gold, silver and jewels. 40. Dhatu-vada--Metallurgy, i.e., the art of setting, purifying, and mixing up of the metals such as earth (?), stone, and quicksilver.6 says l Yasodhara that it refers to vardhaki-karman, but that is not correct because takshaka and vardhaki have got different works to do (see under the next heading Vastu-vidya). See infra, p. 98 and the writer's Indian Architecture, 1 st Ed., p. 25, and Dictionary of Hindu Architecture, 1 st Ed., pp. 709-712, 725-730. 3 See the writer's Dictionary of Hindu Architecture, 1 st Ed., Preface, p. viii, and Indian Architecture, 1 st Ed., pp. 1, 2. 4 This refers to practical geology. Mining is separately mentioned (see no. 41). B The commentators have not included suvarna which is, however, found in a text of the Kama-sutra. It should be noted that the four items beginning with this fall under one category. 鈼� sa mrtprastararatnadhatunam patanasodhanamelanadijnanaheturartharthah | (Yasodhara prefers the reading in place of H.) 13

41. Mani-raga-jnana (ragaka-ranjana)-Art of colouring precious stones. 42. Akara-jnana-Mining, or the art of ascertaining the existence of mines from external appearances.¹ 43. Vrkshayurveda-yoga-The art of gardening, which, according to Yasodhara, includes planting, nursing, curing, and artistically arranging trees in private house gardens. 2 Vallabhacharya refers it particularly to the fruit gardens.³ 44. Mesha-kukkuta-lavaka-yudha-vidhi-Ram-fighting, cock-fighting, quail-fighting. Such things are shown, according to Yasodhara in the performance of a circus party.4 45. Suka-sarika-pralapana-Teaching of parrots, etc., to speak. The art consists in a sort of singing and delivering (good) news through the birds.5 46. Utsadana (-ne samvahane cha kausala)-Massage or shampooing, i.e. rubbing the limbs with unguents, pomades, etc., both with hands and feet as Yasodhara says.6 47. Kesa-marjana-kausala-Coiffure or hair-dressing. 48. Akshara-mushtika-kathana-Guessing unseen letters and things held in a closed fist, as stated by Jiva-gosvamin and Vallabhacharya. But, according to Yasodhara, the art consists in guessing things held in a closed fist, like the revealing of the hidden and suggested meanings in a poetic composition; it admits of two varieties, namely, sabhasa (suggestive) and nirabhasa (unsuggestive), 1 Vatsyayana does not include this. His commentator Yasodhara says that this is found in some other texts. 2 3 ropanapusticikitsarvacitryakrte grhodyanarthah | 'vrksanam jivanaprakarah phalainirbijakarana vrksantaratphalotpadanamityadi | I 4 sajivadyutavidhanametat | tatropasthanadibhiscaturangairyuddhavidhanam kridartha vadartha ca | 6 subhasitam pathanti sandesanca kathayanti | (Yasodhara). -(Yasodhara). " mardanam dvividham padabhyam hastabhyanca | tatra padabhyam yanmardanam tadutsadanamucyate | sesanagesu mardanam samvahanam | For the purpose of the Kama-sastra such an erotic art has obviously a great use. kesagrahanamatradarartham | tatra kausalam pararadhanartham | 7 -(Yasodhara). 14

the object being twofold, namely, to guess hidden things and to make concise composition.¹ 49. Mlechchhita-vikalpa - Use of secret code language or modifying ordinary language so as to make it not ordinarily intelligible, as stated by Yasodhara.2 50. Desa-bhasha-vijnana--Knowledge of languages of different countries.3 51. Pushpa-sakatika-nirmita-jnana陋--Making of flower carriages. 52. Nimitta- jnana - The art of reading omens from the crowing of crows, etc., as stated by Vallabhacharya.b 53. Yantra-matrika - The art of making monograms, logographs, and diagrams. Yasodhara attributes this to Visva-karman and calls it ghatana-sastra (science of accidents). " 1 aksaranam mustiriva mustikaguptiriti | sa mabhasa nirabhasa ca | tatra sabhasa aksara mudreti ucyate | taya kathanam gudha啶紇astumantranartham granthasamkseparthanca | nirabhasa bhutamudretyacyate | taya kathanam guhyavastumantranartham | Yasodhara illustrates this by quoting verses from the Chandra-prabha-vijaya-kavya of Ravigupta. 2 yat sadhu sabdopanibaddhamapyaksaravyatyasadaspastartham vikalpa bahavah purvacaryoktah | tadyatha tanmlecchitam kautiliyam yadi ksantaih svarayoha ' svadirghayoh | vindusmanorviparyasaddurbodhamiti samjnitam || 3 aprakasya vastujnapanartham taddesiyairvyavaharartham ca | 4 (Yasodhara). Vatsyayana divides this under two headings : gudha啶紇astumantranartham | tasya (1) Pushpa sakatika and (2) nirmita-jnana. His commentator, Yasodhara, simply says that puspani nimittikrtyaham pranita | Jiva-gosvamin reads it as Pushpa-sakatika-nimitta-jnanam, but fails to explain it puspasakatikopadhikayam kasyancidvidyayam nimittajnanam | Sridhara-svamin reads it as : puspasakatikanirmitijnanam | 5 dharmaksamavarge'ntargatam subhasubhadesaphalam | tatra ca prasturabhijnanartham | evamrupaya striya taba prayoga iti kamopahasitapraya adesa iti | nimittajnanamiti samanyenoktam | " sajivanam nirjivanam yantranam yanodaka ( ya nodana ) samgramartham ( 1 ) sastram visvakarmaproktam | 15

54. Dharana-matrika¹-The art of composing enigmatic poetry. According to Yasodhara it refers to a kind of science of remembering.2 55. Sampathya-According to Yasodhara it refers to a kind of reading which is practised for the sake of music and debate.³ 56. Manasi kavya-kriya-Extempore and mental composition of versified poetry. The art comprises the filling up of stanzas of which a portion is told, the versification of thoughts in someone else's mind, and composing verses beginning with certain given letters, etc. 57. Abhidhana-kosa-Lexicography. The art consists in getting together all the synonyms of a term. 58. Chhando-jnana--- Knowledge of metres. The art consists in composing metrical verses. But according to Yasodhara it refers to character-reading, especially of man by young ladies.4 59. Kriyavikalpa-Derivation and conjugation of verbs in various ways. It refers to grammar and poetics, as Yasodhara says. 60. Chhalitaka-yoga-Tricks. According to Yasodhara the art consists in assuming by one the form of somebody else in order to deceive someone, as Surpanakha and Kichaka did.5 61. Vastra-gopana-Changing the appearance of fabrics, such as making cotton cloth appear like silk. But according to Yasodhara the art consists rather in concealing by cloth the very existence of certain private parts of the body, putting on a torn piece of cloth in such a manner that it looks perfect, and wearing a long piece of cloth in skilful folding so that it appears small. 1 Vallabhacharya and Sridhara-svamin read this along with the preceding one under the same heading. 2 srutasya granthasya dharanartham sastram | yathoktam - vastu kosastatha dravyam laksanam ketureva ca | ityete dharanadesah pancangaruciram vapuh || --- 鈥� sambhuyatri啷溹ぞrtham vadarthanca | tatrapurvadharitameko grantham pathati, dvitiyastamevasrutapurvam tena saha tathaiva pathati | 4 purusam drstvaiva tasya chandojnanam ayamevam vrttah itih kaminyadinam manojnanam va | yadrupamanyarupena samprakasya hi vancanam | devetaraprayogabhyam jneyam tacchalitam yatha || divyam sarpanakha rupamitaradvayunandanah | chalitavanabhisrtya sriya ramam ca kicakam || (Quotations from some unnamed work.) e vastrenaprakasyadesasya samvaranam yatha tadbhuyamanamapi tasmannapaiti | trutitasyatrutinasyeva paridhanam mahatam vastrasya samvaranadinalpikaranam | 16

62. Dyuta-visesha-The art of various gamblings. 63. Aksha-krida-Playing with dice, mentioned as a special game by Yasodhara. Jiva-gosvamin refers this to an unspecified game in which a distant object is drawn in.¹ 64. Bala-kridanaka-The art of making dolls for children. According to a modern translator (Mitra) it refers to juvenile sports. 65. Vainayiki-jnana-The art of etiquette, as Yasodhara says.² 66. Vijayiki-jnana-Art of warfare, including archery, etc. According to Yasodhara, it admits of two varieties, divine and human.³ 67. Vyayamiki-jnana¹ The art of physical exercises, including hunting and other sports, as stated by Yosodhara.5 From this list it is clear that under some headings more than one subject is discussed, that some subjects should better be discussed under one heading, and that the order is not logical. In fact, the number of arts as sixty-four is a fictitious one. Neither Vatsyayana, nor all the commentators of the Kama-sutra, nor those of the Srimadbhaga-vata, nor the author of the Lalita-vistara have been able to make up the number. Some of the commentators admit this. In the Uttaradhyana-sutra the number given, as pointed out above, is seventy-two, which are not, however, specified. Yasodhara declares that the sixty-four are the basic arts, which may be subdivided into five hundred and eighteen. These basic arts are classified under different groups in an unspecified text (of the Kama-sutra). Of these, twentyfour are stated to be the useful arts 8; twenty refer to gambling, of 1 As a matter of fact this and the former item should come under one heading. 2 svaparavinayaprayojanad vainayikyo acarasastrani hastyadisiksa ca | 3 vijayaprayojana vaijayikyah | devyo manusyasca | tatra daivyo parajitadayah | manusyo yah samgra fugu: sexfaenT: 1 Both Sridhara-svamin and Suka-deva read it as Vaitaliki. * vyayamikyo mrgayadyah | 8 kecitta kalah kalpasamhitoktah sudhiyameva pratyekamekahoratrasiksanarhah ksudrasiddhirupah paracitta- jatadurasravanadarsanacintaratnabhrtavisesanirmanadyah anya evahuh | - (Jiva-gosvamin) - 7 purvokte va avantarabhedah kvacidgrahayah | - (Vallabhacharya). catuhsastirmulakalah | asvevantaranivistanamantarakalanamastadasadhikani pancasatanyuktani | 8 gitam, nrtyam, vadyam, lipijnanam, vacanam codaram, citravidhih, pustakakarma, patracchadyam, malya- vidhih, asvadyavidhanam, ratnapariksa, sivyam, ranagaparijnanam, upaskaranakriya, manavidhih, ajivajnanam, tiryagyonicikitsitam mayakrtapasandasamayajnanam, kridakausalam, lokajnanam, vaicaksanyam, samvahanama sarirasamskarah, visesakausalanceti | 17 b

which fifteen deal with theoretical things ¹ and five with practical objects; and sixteen are concerned with cohabitation³ and four with subsidiary matters connected with cohabitation.4 The last twenty are entirely private matters and are never meant for public discussion; they are too fine to be exhibited in a museum for fine arts, although indecent paintings of the sort are noticed in temples at Puri, Kanarak, Benares and elsewhere; they are stated. to be practised in private.5 So far as the main list is concerned, it should be noticed, only the last twenty may be considered as exclusively feminine arts, the others from vocal music down to physical exercise being equally practised both by males and females. Even cookery, which includes the scientific preparation of all kinds of dishes and beverages, is a proper subject for the theoretical and practical study for man and woman alike. In fact, dietary is a section of the medical science. Another fact to which attention should be drawn is that barely onefourth of the whole list can be called fine arts, which are meant only for mere culture or amusement, while others are really useful and productive arts both materially and culturally. This point is beautifully illustrated by Vatsyayana in his Kama-sutra: 'Even an ordinary dancing girl possessing beauty and youth when trained in these arts rises to the status of a courtesan, is welcomed in respectable society, and is respected by kings and learned people. She becomes an object of notice and is desired by everybody. As regards princesses and daughters of high officials, they can keep captivated their husbands possessing a thousand other wives. And when they become widows 1 dyutasraya vimsatih | tatra nirjivah pancadasa -- ayuh praptih, aksavidhanam, rupasanakhya, kriya maganam, bijagrahanam, nayajnanam, kararnadanam, citracitravidhih, gudharasih, tulyabhiharah ksipragrahanam, anupraptilekhasmrtih, agrikramah, chalavyamohanam grahadananceti | 2 sajivah panca - - upasthanavidhih, yuddham, rutam, gitama, nrttam ceti | -- 3 sayanopacarikah soda啶約a - purusasya bhavagrahanam, svaragaprakasanam, pratyanagadanam, nakhadantayorvicarah, nivisramsanam, guhahasya samsparsananulomyam, paramarthakausalam, harsanam, samanarthata krtarthata anupratsahanam, mrdukrodhapravartanam, samyakkrodhanivartanam kruddhaprasadanam, supta ( sayya ) parityagah, carama svapavidhih, guptaguhanamiti | catasra uttarakalah- sasrupatam ramanaya sapadanam, svasapathakriya, prasthitanugamanam, punah punah niriksananceti | 5 abhyasaprayojyamsca catuhsastikan yogan kanya rahasyekakinyabhyaset | 18 - -(Vatsyayana, Chap. III).

and deprived of their wealth they can honourably earn their livelihood even in another country. A man who is a skilful artist can command a hearing and proves a pleasant companion everywhere. Even being a stranger he can captivate the heart of young ladies in no time. Prosperity follows him in all places and at all times."¹ Lastly, none of these arts can be properly cultivated by a person, community, or nation who is not endowed with a sense of beauty and youth. In this matter age is no sure test of youth. The Great Buddha could renounce the world while yet a young man and in the midst of worldly prosperity because he had grown oldish in heart and had no interest for youth and beauty. Almost at the same age Chaitanya also renounced the world, but he was never deprived of a sense of beauty and youth, and the result has been the origin of Sankirtana, a kind of very exciting mass music, as well as the establishment of Nava-dvipa. and later Vaishnavism, where many of the erotic arts developed under different garbs with a tinge of religion. On the other hand, pocts like Rabindranath and others write highly erotic poems and love stories in their sixties and seventies. because, in spite of their age, they have kept alive an interest for beauty and youth in their heart. In fact, beauty and youth need not always be dependent upon a well-proportioned figure or any particular complexion or upon a particular age. "Youth is not a time of life; it is a state of mind. It is not a matter of ripe cheeks, red lips and supple knees; it is a temper of the will, a quality of the imagination, a vigour of the emotions. It is the freshness 1 abhirabhyucchrita vesya silarupagunanvita | labhate ganikasabdam sthanam ca janasamsadi | pujita sa sada raja gunavadbhisca samstuta | prarthaniya'bhigamyaca laksyabhuta ca jayate || yogajna rajaputra ca mahamatrasuta tatha | sahasrantah puramapi svavase kurute patim || tatha pativiyoge ca vyasanam darunam gata | Semeatsfa farunft: m gada stafa 11 narah kalasu kusalo vacalascatukarakah | Brizgaisfa ardri faaunaa farafa || kalanam grahanadeva saubhagyamupajayate | desakalau tvapeksyasam prayogah sambhavenna va || - (Kama-sutra, Chap. III). 19

of the deep springs of life. Youth means a temperamental predominance of courage over timidity, of the appetite for adventure over the love of ease. This often exists in a man of fifty more than in a boy of twenty. Nobody grows old by mercly living a number of years. People grow old only by deserting their ideals. Years wrinkle the skin; but to give up enthusiasm wrinkles the soul. Worry, doubt, self-distrust, fear and despair-these are the long long years that bow the heart and turn the greening spirit back to doubt. Whether sixty or sixteen, there is in every human being's heart the lure of wonder, the sweet amazement at the stars and at the starlike things and thoughts, in undaunted challenge of events, the unfailing, child-like appetite for what next, and the joy of the game of living. You are as young as your faith; as old as your doubt; as young as your selfconfidence; as old as your fear; as young as your hope; as old as your despair. 'In the central place of your heart there is an evergreen tree, its name is Love. So long as it flourishes, you are young. When it dies, you are old. In the central place of your heart there is a wireless station, so long as it receives messages of beauty, hope, cheer, grandeur, courage and power from the earth, from men and from the infinite, so long are you young. When the wires are down, and all the central place of your heart is covered with snows of cynicism and the vice of pessimism, then you are grown old, even at twenty.' Youth and beauty are an embodiment of what is called the sensual love. And love is the real life which is the source of all activities and of all arts. Life is, however, impossible without a body. Hence beauty and youth can be realized only with reference to an idol, an image, or a symbol. Buddhism at its origin was a religion of renunciation. Buddha himself was not attracted to his young wife, newly-born baby boy, old parents, and an extensive kingdom and other royal prosperities. Buddhism itself required no idol to worship and needed no temple. Hence Buddhism has given rise, in architecture, for instance, to heaps of stone known as stupa. These topes, the real representative structures, both of the Buddhists and the Jains, were of solid masonry for the preservation of relics and never intended to be artistic. No doubt they are found surrounded with beautiful stone railings and decorated with artistic gateways; but these were obviously incongruous with the original tumulus and must have been 20

later additions. They formed no essential parts of the main structure, just like the other accessories, such as stone umbrellas, elaborately carved pillars, and abundant statuary, usually in the form of reliefs, representing scenes connected with their religions. They show the conversion of Buddhism and Jainism to idolatry and point to the period from whence the Buddhist and the Jain arts made their appearance. 鈥� 6 Muhammadanism grew up in the Arabian desert. It is not a religion of renunciation, but it is non-idolatrous; hence there is no need for a temple; prayer could be said anywhere. Consequently the mosque does not represent any symbolic idea. It has been rightly stated that the Muhammadans designed like giants and their Hindu workmen finished like jewellers; but from the giant killed by Jack, right through the whole genus, giants have hitherto been noted for immense strength." There is no room for any sculpture. Worship is congregational, but there is no need for music, which is considered to be a disturbance rather than an incentive to the worshippers in concentrating the mind upon one object. Priests are householders, but the God of daily worship is impersonal. Thus it is not a religion of love, rather one of obedience. The sensual love, however, embodies in itself beauty and youth without which no fine art can grow. Hence Muhammadanism could not give rise to many fine arts. It is, however, a fact that the Muslims have later. on developed many arts, but that is due to their war-like spirit, their militarism, and not to their religion. The wonderful Taj Mahal is a secular monument of love for a beautiful wife. The great forts at Agra, Delhi, and other places were but military settlements. The famous Mughal paintings have no religious tinge about them. The Quran is composed in prose and is not a book of poetical hymns like the Bible or the Vedas. In fact, both Arabic and Persian poetry is predominantly secular. Christianity, on the other hand, is a religion of love. Christ himself was born of extreme love of youth for beauty, and gave up his life under highly romantic circumstances. It is fundamentally a religion which cannot be practised in the absence of an idol, an image, or a symbol. Christ is idolized in every church, together with the cross, which was the deadly weapon upon which he was 1 General A. Cunningham, Archaelogical Survey Reports, Vol. IV, pp. 56-57. 21

crucified. Idol-worship needs a temple. Hence the Christian form of worship is impracticable without the church or a chapel. Like Muhammadanism, it is also congregational, but, unlike the former, it is performed with music in an atmosphere of beauty; the church is neatly arranged and the worshippers keep a fashionable dress for the Sunday or Church day. Its priests are householders; they can eat all things, they can amuse themselves in all possible ways, even in hunting, gambling, drinking and dancing. In other words, it is full of life and vigour; beauty and youth reign supreme in it. Thus the Christian churches of almost all ages and in all countries were lovingly conceived and beautifully executed. The Grecian gods and goddesses were vigorously carved and were always given a youthful and beautiful appearance. Young boys (and girls) in pretty uniform are required to sing psalms from the Bible in chorus. In painting, the romantic incidents connected with Christ played a great part. Greek, Latin, French, English, German, Russian, all literature of the followers of Christ is full of their mythological allusions. Poetry, lyric, drama, all are based mainly on the theme of beauty and youth. Vigorous and lively music is necessary everywhere in the church, for the funeral, in the battle-field, for a dinner-party, for the dancing hall, etc. Cookery or perfumery, jugglery or mimicry, weaving or tailoring, bull-fighting or hunting, every art of the Christian world there is evinced a real life. The theme in all these arts is that of beauty and youth. in Hinduism combines in itself, at different stages of its development, the renunciation and respect for life of Buddhism, the stern discipline and brotherhood of Muhammadanism, and the love and life of Christianity. The inactive God beyond the conception of mind and word is impersonal, but the active God of worship is idolized to an extreme. In the early Vedic stage God is personified in natural phenomena; then He is given a human body till at last He is conceived as having a thousand heads, a thousand eyes, a thousand arms, and so on. Thus we see in the Fauranic age Brahma is furnished with four heads, Siva and other deities with three eyes, the goddess Durga or Sakti, i.c. the personified energy, with ten hands holding various attributes, and the goddess of learning with a musical instrument. In the dhyanas, or descriptions of various deities, all their characteristic features and qualifications are 22

elaborately referred to. In these descriptions one feature, which is practically common to all the gods and goddesses, is that they are conceived at the height of their beauty. This is applicable not only to the goddess of love or wealth, but also to the goddess of fury or terror. Temples had already been erected when God was fully idolized. But the priest who renounced the world, or went to the forest in his old age accompanied by his old wife alone, needed neither temple nor idol; he went on meditating on the impersonal God. The greater majority of priests, however, remain householders, enjoying life in all possible ways in an atmosphere of beauty and youth. Even in the early Vedic stage a worshipper had to be accompanied by, what is called in English, his better half. No religious observance would be complete unless one is accompanied by his wife. Rama had to be accompanied by a golden image of Sita for the performance of his horse-sacrifice in celebration of his suzerainty. And all possible phases and aspects of the conception of God were idolized. Thus Hinduism has given rise to an unparalleled pantheon and mythology. There is the god for creation, god for preservation, god for destruction. There is the god of death, there is the god of love, there is the god of war. There is a god for the fisherman, a god for the weaver, a god for the trader, a god for the hunter. All this statuary symbolizes the self-expression of youth in as beautiful a body as an artist can conceive. Sculpture being the handmaid of architecture such a variety of deities necessarily needed equally diversified types of temples, of which, though the ancient remains are not too numerous, there are convincing proofs in all branches of our literature, especially in the Vastu-sastras. Buildings have been distinguished as male, female, and neuter; as round, oval, rectangular, quadrangular, octagonal and of other shapes; as running to seventeen storeys; as having ninety-eight, forty-five, twenty, and ten types; as being high like the Himalayas; white like the swan, etc. In the words of Fergusson, it will undoubtedly be conceded by those who are familiar with the subject that, for certain qualities, the Indian buildings are unrivalled; and that they display an exuberance of fancy, a lavishness of labour, and an elaboration of detail to be found nowhere else.' What remains to be added to this general ¹ See infra, pp. 186-196; the writer's Dictionary of Hindu Architecture, 1 st Ed. pp. 830, 831, and the Encyclopaedia of Hindu Architecture, under Prasada. 23

characteristic is that Hindu architecture, much like sculpture, good, bad, or indifferent, was always inspired by a sensual love and executed in an atmosphere of beauty and youth. The Vedas, which are the fundamental scriptures of Hinduism, have been recognized as first-class poetic productions, full of life, vigour and beauty. Thus the Hindu mind could not think but in poetry. Excepting the commentaries and explanatory notes as represented by the Brahmanas, the Sutras, and one or two other branches of literature, poetry has been the vehicle of expression everywhere else, including lexicons, law-books, political sciences, astronomy, mathematics, medicine, architecture, sculpture, painting, singing, dancing, even histories, not to speak of epic works, lyrics and dramas. Poetry can be woven only by the hand of youth in an atmosphere of beauty, whatsoever might be its nature, whatsoever might be its subject-matter and whatsoever might be its leading sentiment, either of love or laughter, pathetic or furious, heroic or terrible, expressing disgust or wonder, filial affection or spiritual resignation. Human love has always been a theme of Hindu poetry. Poetry and music became almost identical at a very early stage ; one of the scriptures is called a book of chants. Without music the Hindu life is impossible: it is necessary for wedding, for christening a child, for initiation, for amusement and for mourning, at birth and at death, for war and for peace. All music is but a beautiful expression of a heart full of youthful enthusiasm. Although the arts like architecture, sculpture, poetry and music had their origin in the religion of the Christians and the Hindus in connexion with the form of worship, which is based on love, these arts, along with the others of the above list, became later entirely secular, and developed in various ways. In the Kama-sutra the arts have nothing to do with religion. Their object is neither salvation (moksha) nor ritualistic observances (dharma), but merely the gratification of material desires and sensual love. Cookery or perfumery, dancing or singing, painting or powdering, jugglery or physical exercise, gardening or weaving is undertaken to earn money or to enjoy oneself. This fact, as noticed above, has been repeatedly pointed out by the commentator Yasodhara. In fact, material desires and sensual love can be nourished only by those who consider themselves ever young and immortal; in other words, no artistic matter can be cultivated by those who are in the grasp of death and decay. 24

ountries or nations deprived of a sense of beauty and youth for some reason or other could not give rise to many fine arts. While in the full bloom of her youth and beauty Africa, for instance, could think of erecting monumental pyramids and dream of devisiug means to preserve the perishable dead bodies in the form of mummies; but since life and love have been taken out of her, there has been no artistic effort or expression in any way. The Grecian statuary no longer shows its former life and vigour, beauty and youth. The famous colossal buildings at Borobudur were built but once. The weavers of Bengal, who once manufactured the finest muslin in the world, could no longer be induced to produce even khadi. So far as Hindu India of the past is concerned all the five hundred and eighteen arts, of which a mere mention is made, might not have been equally developed, but many of them, in the neighbourhood of a few hundred, did undoubtedly reach the status of a fully developed science and can each claim a Silpa-sastra. The revival of the Silpa-sastras would revive our art consciousness. The unearthing of our artistic treasures and unfolding of their worth and beauty may bring back life and love in us, and awaken that youthful artistic instinct which is our precious inheritance. Biggest fruits and best flowers can grow only in the healthiest young plants on a fertile soil. In this volume an endeavour has been made to be quite certain of our data,' so far as Hindu architecture in India and Abroad is concerned, and to place the monumental records with a faithful interpretation before the learned world exactly as they now exist.' 25

Page 27 GENERAL VIEW, NORTHERN SECTION, LOOKING SOUTH-EAST, MOHE NJO-DARO