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- 250 TEXTS ON THE ART OF PAINTING. Among the texts on painting in India the Citrasutra in the Visnudharmottara is the one standard text. It is the oldest text dealing with the technique and theory of Indian painting. Dr. Stella Kramrisch remarks, "Part III of the Vismidharmottara gives the fullest account hitherto known of the various branches, methods and ideals of Indian painting." The Citrasutra in the Vismudharmottera has valuable material on the classification of pictures, painting materials, merits and defects in painting as well as practical hints very useful to painters. The technique and process of painting, colours, tools, methods of preparing painting canvases, plastered wall, proportions of human figure, various poses of body, different varieties of hair and eyes and the conventions, all these are dealt with in detail. The other Sanskrit texts on painting are of the medieval period namely, the Citralaksana and the Samarangana Sutradhara. Besides the Vis mudharmottara the other compilation of ancient date is the 'Citralaksana' by Nagnagit, which indicates Mr. The according to Percy Brown, the pre-Buddhist tradition. main theme of the Samarangana Sutradhara by King Bhoja is architecture. It contains a small section on painting. Abhilasitartha-Cintamani by King Somesvaradeva (12 th Cen.A.D.), Aparajitaprecha, sivatatvaratnakara (17 th Cen.A.D.), Silparatna (16 th Cen.A.D.), Naradasilpa, Sarasvati - Silpa, and Prajapati

- 251 Silpa, are from South India. All these texts generally describe the technique and process of painting, the materials, the conventions and the canons of art criticism. All these canonical treatises show that a scientific method of co-ordinating the art traditions and the compilation of asthetic laws, is the early feature in the history of Indian painting which is undoubtedly unique. Although the Citrasutra of the Visnudharmottara is the oldest text on Indian painting the treatment is very comprehensive and systematic. None of the other Puranas have treated the art of painting. The Citrasutra shows that painting as a science and art in India is very old and the canons of painting must have developed long ago. According to Dr. Stella Kramrisch, "the Chapters of Visnudharmottara dealing with painting must have been compiled in the 7 th century, contemporary with the latest paintings of Ajanta, and so we get acquainted with the theories prevalent at the time of the full maturity of their practice. #16 But judging from the literary evidence, it is obvious that the tradition of the art of painting goes back to remote times. The Kamasutra of vatsyayana alone is sufficient to show that pictorial canons in India were in vogue long long ago. In spite of its maturity, we can safely put the Citrasutra the Vishudharmottara in the period of the Golden Gupta Age 1.e. 3 rd or 4 th Century A.D. of