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TH li YISH N UDU AR MOTTARA

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THE VISHNUDHARMOTTARA
-#
(PART III)
A Treatise on Indian Painting and

I mage-Making
.i
Î-,/'#?: ? '4i
y V
'eRAR^ ■
By
STELLA KRAMRISCH, Ph D.
Led urer in Fine Arts (Department of Ancient Indium History
iind Culture). Calcutta University
Second Revised and Enlarged Edition
CALCUTTA UNIVERSITY PRESS

192S
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GCu 56
KULlEp ivr> rDnLMB^P tl 0irVPEM>IAL4L MliFjlEf
it tub cjuLcdtt* UNivkinn fa£iir afftn. fucmt.
Sls. 3SQ-S
a*g. -W 6100—Juury. 103&-Kft.

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To
ABANINDRANATH TAGORE
■
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PREFACE
Mr. Ar K. Maitra, Director of (be Varendra I^searcli
Society, has drawn my attention to the VithnudbarmoUara,
as it deals ralLer fully with prescriptions for painting
and image-making. J owe him many valuable suggestions.
With regard to helping me with the translation I am in
debted to Mr. Rakhohari Cbatterji, M,A., a former student
of mine, ProR Dr, D. R. Bhandarkar, and Prof.
Dr. B, M. Barua of the Calcutta University Lave assisted f
me in revising the translation and reading the proofs of the
second edition. Without the collaboration of alt these
scholars the translation of so technical a treatise would not
have been possible, I express my sincere gratitude to
each of them,
Stella Kraukiscb
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INTRODUCTION
CENTRAL LIBRARY
' It i ■ point# it:4Prfh fti\rne*i ntH‘tkc um l «(rtaiiirM fluttering

Jr, rtn ait, according to the inorruidtt/ of thr ipiudT jiVtoiffp/ hr- COrl-
finfr rml a yriat painter.1'
Vith-ûdhannoUarti. Ch. 43m \T. S3.
" F< rrr H tti.j it (hr hr*! nf ,iH arht, COAJudpt to (/JiHir«+fl - plan Aitrc,
Health >ifiJ r»Ea>iripdfri>in+ /( (jirt a thr yrrati.it pleattirt t whru
/*Wrfi it* q houAr,'1
„ Ffthnrrdharrnofiurai Ch. V. 3tf.
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JNTHOprCTION
The VipbqiudhnrmDttarii a Supplement nr Appendix

to the \ >nhûpîraiL.ri. Parf Hi of the Yfflhoiidharniottarft
gives lhe fullest account hitherto known ol the various
branches, methods and ideals of Indian painting. It deals
nut only with its religious aspect but also, and to a far
greater extent,, with its secular employment, It prodaints
the joy that colours and forms and the representation
of things seen and imagined produce. Speaking of artistic
representation in relation to religion, it points out their
mutual Eimitations :
** Vjtjra said—The Supreme Deity has been described ns
devoid of form, Knudl and emotion imd destitute of sound
and touch—so how this form can he (made) of Him ?
Mnrknnrjeya replied—Frnkrti mid Vikrti (come into
existence) through the (variation in) the form of the
Supreme SouL That form of Him lwhich is* scarcely to he
perceived is called Prakrti, The whole universe should bo
known as the Ylhrtj (j.r., modification) of Him, when
endowed with form. Worship and meditation (of the
Supreme Being) arc possible (only when He Ls) endowed
with formThe best position of the (Supreme) Soul
(however) is to be imagined without form* For seeing the
worlds (He) possesses eyes dosed in meditation,.,...”1
This concession being made, life in its entirety becomes
fit for artistic representation, and the realm of imagination
is as dose within the reach of the artists, ji> nature that
surrounds him, for tradition guides him in the one case
and Observation checks and inspires him in the other,
1 P*rt TTI, Cb. 16, tvtk* MO,

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4 INTRODUCTION
The Yinhiûdhai znoltnr;i admits in several place®*

t tint il in hilt rr|M?atJtig and compiling from older sources.
These being lost lo usT our text represents tlie earliest
exhaustive account of ihc theory of painting- lt& date
can lie ascertained partly from chapters lacing Copied from
earlier sources, and partly from a custom of setting up
Kfcntues to renowned personages with which the text deals.
VyHHJit the reputed author'ol the Mahahhilrata, was
worshipped as r deity. Directions as to the making
oil the image of Yyflsft are given in the chapters dea!tpg
with i mage-making, consecutive to the chapters od
paintingr' Direction- are also given*1 * for making images
of Yudhi&thira, Dbitua, Arjunn* Nakula, Sabadeva* Krsbna,
of Sumanta. Jaiutith, l’nihij \ nisampdyana (the lour
disciples of VyHao), and of Dcv&kl, Ja&?dar Bala id mu*
Rukmiiii, Satyabbamii, 8;'imhn and Auiruddha.
At the time of tlie compilation of Lite VbbniJ-
dhan tint trim the Mahnhhnrata must have heen hold
sacred to such nn extent that not only its heroes* but ftTao
iu - -called iutbor run! his disciples were worshipper! as
deities. Yalmlki. toot was worshipped as n deity and how
to make his image is also told in the Yishniidha.riiiotlanl/
The complete hook <d ihe Ramnyitqa being not
anterior to the Alahiihhnrata^ and the Mahabbarnia in its
present shape being aaaignw n between 200
and 4j*> A,D.r the YiahiLiul ha n unitary eunuot date
earlier than the 5th century A.D, .This dale is also
evident from that of the Viahijupurina, of which the
Yishnudharmobtara is just an appendix. The Yiab&upurAna
is based in its genealogical accounts on those of the
Bhiivishya, Matsya and Yuyu ........ 4 The Vfcyu borrowed the
Bhavishya'a augmented account about or aooii after the year
r Carl HI. (,'h+ Afl, r«rifi

1 e*rt 111, Ch. s5, icfWi fl3.fi*.
ITophiU*. Kpiotf fn.lii. pp. tfl-un
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INTRODUCTION a
33G or 3"JJJ A.P/ The V inhgupur&rut cannot, therefore,
be earlier than the £nd hjilT of the 1th oenturj A.D.
llie lower age-1 innl ol the Vishnudhariuottarn tivunt
however he pushed si ill further. For Pari III, Chapter 27,
dealing with colours, is borrowed rrrt»wfi>n from Bbarntas
Niityasfisira, and the number of T(i9Q*a hi the V ishou-
dharrnottara is nine, while only eight are dealt with by
Uhm ala,
The tipper age Jim it of the text may l*.- conceived
I'rum tin monographic peculiarity of it- pantheon. In it
every god, hero, philosopher <jr sage fjmIh Iiis place some
where round the central liguro of Vishnu, the Hod
Supreme. Yet no mention is made of Sankara, who up
to the present flay is worshipped to the form of an image.
Had Safikara existed at the time of the compilation the
chapters on painting, the author would have incorporated
him into the Vaishuavti pantheon in spite of his being al
incarnation of Siva,
( The chapters of the ViahjEudharmottara dealing with
panning must have been compiled in ilia seventh century,
contemporary with the latest paintings of Ajantfi ; and so
we gel acquainted with the theories prevalent ai the
time of ilie full maturity of their practice. But it must
noi be forgo Ben that our text is hut a compilation and that
itH recipes and prescriptions go back to a remoter past.
Valuable as these various kinds of information arc, we have
to lie aware, that like all theories 11 icy arc derived from, and
subservient to, the practice, I'hey left every freedom to the
artist, to work, tia fcbe tesl says, 4 according to his own
intellect/ What Sri KumArn ufrdostly states in Lis
S| IpariLt u;i (verse It) also Indds -nod fur uiir [ext :
" 1 describe the mclhmia of Chitrti for the benefit
of the ignorant/'
(Painting in ancient India, especially in llie Guptu
E^tk1i«t, Djrutilio of ilia Kalf A^«. lmtL>.r mil uji t mi,

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rNTHODUC TTOK
ugc, wa5 of great importance in tin* life oT the citizen,

The interest taken in pictures varied with the education
of the spectator, f* The master* praise tlii? it Min.'s (t^r)
(del meat ion and articulation of form), the connoisseurs

praise: the display of light and shade women like
the display of ornament h, to the rest of the public
richness of colours appeals.t+ The artists, therefore, should
lake great care, flint the palnftug may be appreciated
by every one. 'There was ample opportunity for con
templating and appreciating paintings.
From the great hull built by the Bod hisatkr^-accor ding
to i Iie^ M a ha-rrunmggii-dn taka'—painted with beautiful
pictures, and the subterranean palace of the same dii taka,
with its stucco-coated walls, hearing paintings of the
splendour of frakka, the zones of Ml. Sumeru, the aea and
the ocean, the lour continents^ the Hiniavat, the lake
Anotatta, the vermilion mountain, the sun and the moon,
the heaven ol the great kings with the six heaven*
of sense and their division*,—to the picture-gallery
h itiagnra) in ibe royal pica smog rove of Prueenojit, King
of Kosfiln, wlu-re many people used to go, amongst
them ili* Bhikkbu intis, w ho were forbidden to do soa—to
those many portraits and Landscape* painted by nrtisis
o\ the royal and the servant class alike, as mentioned in the
Raljd&valf, RaghmariaaEi, Sakimialu. and t 'ilam-Kama-

charita—we m?c an unfading delight taken in the magic'and
the eonstiouaneea of painting. Wherever there wits n
festival, painting enhanced its mood—£* from the city-gate
u* the palace, and from the palace to his own house, on both
*ul0H ol the road, he erected lattice-work, and covered all

mvs w ith ui&ta, covered all with pictures, scattered flowers
o]hiu the ground* hung Hags and banners/’ L'
1 J'*c*kd Vol. V[h [,p. JVj ttnl Llit.
* ,
1 ViUaya. Vol. TV. FftrtiUijo. Nc. XLTr P. 390.
* p. 113
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INTRODUCTION
As permanent or temporary decoration, on the floors,
on the walls ami ceilings of private houses, palaces and
temples, and in Ike streets* pointings instructed and <-n-
livened the mind of I lie public. Even religious teachers
used painting as tlie most popular means of coiniuuui-
ration, that could be understood by the illiterate and ihe
child. " There is a class of Brahmanical tmehers,
known by the name of *N&kha. They make a (portable)
fran]gisvorki upon v\-!iia■ 11 they muse in 1 il- drawn fi variety
of pictures, depicting scenes of good, and e\il destinies,
of fortunes And misfortunes, and canning the Iribels to hr
/
inscribed : ' By doing this deed one attaint this,' * Bi
doing that, one attains that/—thus showing different
destinies they wander about with these pictures.''
That overj cultured man bad in his houê i drawing
hoard. and a vessel for holding brushes and other requisites
of painting is evident from \ iltnyayana1^ Rut
one should not. have a painting by one s'own hand in one's
house, says the Vi&kQudharmottara, Certain objects
only are lo be painted iu private residences, suggesting
love, gaiety and peace, while the supernatural and the
terrible aspects of life were reserved for the walls of
temples and royal audience-halls.}
The paintings were executed in various types ; wall-
paintings, pictures on board and on canvas were equally
frequent (c/. Knmanfitr:iand VlslipiiHhannotTara). The
laucF" were sometimes in I he all ape of mils, exhibiting
continuous representation. Such a roll was spread oul
by ix spy of G&t?akya before the people in Candauud^n s
house and was exhibited by him with songs/ If framed,
* BlTulthiLL-Ptbiiiifti, !iinrrt**n! edition* I'iti II 3W, r/, fiirut'i Hinton «sf
i 'ie r Bud i3 In at i l Indj-Mi Phptowphj, pT lie ; JlaiLtnri-OJujIi - l-^rlj Uf*, C-ilrLtu j.
Rwiaw. Jiidb, r.Hii™. ji[n, fldti,
1 B«D.Lr» «d., pp. S;], -N,
J Mqidr&illultMA, T. CY fi»™hi‘CliJiri:U. P«n* K^tEiun,
V. p. t&3. qVateJ mnA rliinu■,je I hj rtrirm in the Cnlcutln ll^v.gw,. J^nr. J ^7.
pp. J7D S71,
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INTUi ipIKTlON
they were of oblong, ^quure and round shape nnd the

Yifiho’udhnrmuttai-fL neoorriingly disimguislu** ! type* of
pictures : (11 sattfn true, realistic* as we may sjayT
in an oblong frame ; (bfqicti ■ which may
mean lyrical, in square frame, and b.0 nSgant (iflur)*
of the citizen, gentry-pictures in round frames, while the
fourth type simply is U> mi&ra iftr*), mixed. In connec
tion with wall-paintings the*' Visingndhnrmottiira also
alludes to doors inlaid with precious jewels. Krom ilu
fiillfflratna. on ihe <iihrr hand, we know that i >hiiiirhil u.
Pumkx=nîintin^ lannhai to KemZah ladies as Alpona,
was applied us temporary coming of powdered colours on
a beautiful piece of ground.1
(^Painting taking such a wide part in secular, nnd
religious life, it wns only nature! that legends were
invented to explain the origin of ihe art. Tin? Vishnudhur-
mottara J give- a king account, of I in w the sage ^NmAya tut
in order to put the npsnrams to shame created the most
beaul i t ill nympli l' rvast, Ijy drawing lier outline wT0T
mango-juice* The Chitralakshmui D again tells us Ebw"
Hd^TInam-grags a Jigs t' td, ordered hy Brnhmfl-, painted
the likeness of a deceased son of a Brahmin; where
upon Brahma made it come to life, and having thus
defeated Varna, restored the son to his father, lit
either legend tho origin of the art of painting is seen in the
outlining of a human figure J for the purpose of creating
a living human form. This reconstructed origin- is magic
and nnn-H'Sthetir. A wumlur notion is to be found in
ha Bit’s Sva pus-Vasa vadattii/ where king Ldaynna and
1 SiJfMtr4tu4, Cli■ iil, rettef HB-Mf.

Pj.i1. I, Oil* 190, THtiai 1-19.
* OhitralrtahKO'* rOdrmin it+uml.. Djuffrr, Ikaliuinpule dfrr tadiKlua KubutJ
rp, 100-lStt.
■ Ci- A’ J£- M*UuAlujb .11(1 Mcihodi Of E'nimn.jj m Ancicnf Uup*^,.
nu3.
1 Tia-iin-]. S. tjuhfai Itan, Mndntu, |i. Ift
f
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INTRODUCTION
princess YOsrivadattiLj with whom he had eloped, are

though absent, married in effigies* by their parents,
by drawing the portraitsof the two on a board.
These instances prove that lhe artist draws from hi*
memory when visualizinga portrait. With this
tradition another has to be compared. A Tibetan
text of the eighteenth century, the d'pag hmm
Jjoti bzair (edA hv JrSarat Chandra Das* Calcutta,
1901) tells us how king Udrayana of Raur&a caused
a picture of the Buddha to be made, by taking a
reflex of iba figure of the Datiabala* an ills' rHodel, This
picture has become known under the name ol Vu loo-ma
(derived from the water),1 * The Silparatna accordingly
defines painting as what bears a resemblance and looks
like a re Ilex in a mirror.3 The imitative and l he imagina
tive origins of pictorial representation, therefore, wore felt
ab equally true. The Yistnutdimrmottara quotes the
LTrvasi-lcgcnd* yet the text never grows tired to point
to things seen as ever fresh sources of artistic inspira
tion, when dealing with the dfsJiUi (f.c.h with things
seen). But not otily the two-fold origin of painting in
observation andîmagination was theoretically known to
the authors of the various treatises; the Yisbfludbnrmo-
ttara, moreover* introduces its chapters on painting with
a discourse, where Marknndeya instructs king Vajra, that
without a knowledge or the science of dancing tin rules
of painting can scarcely be understood. In another
passage, the observation of nature and of the rules
of dancing arc indicated as the ultimate resources
or the painter. This does not mean that the positions of
dancers have to be painted. None of the nine |>ositjons
1 LmUfToi, I. c,, p. 1*W5,

* (Wpajatoni, IV, Cl>, li. rafiffn 1-I6-H.fi.
Orrek ifc+T*#ihl* lo appreciation of lb* imturj^Mlio **peoi ot *rl
only, hu it (but jjnictiDtf bitgan ivJth lh* pallablnu at ntui . ITIjv Mita
Pliny * t-lupicm i>d ll)* IlJitory ol Art, Hook , 1')■
9
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10 INTRODUCTION
of the treatise on painting in the Vishnudharmott&ra

coi iK'iclfM with tiny of the 101 positions explicitly
described—in__Dha ratals Nritya-sfodra. What, is meant
by the derivation of painting from dancing is the move
ment in common lo both these expressive forms; it
asserts itself in purity through dancing, it guides the hand
of the artist, who knows how to paint figures, as if
breathing, the wind as blowtngrthe fire as biasing, ami the
streamers eik fluttering. The moving force, the vital breath,
the life-movement {chelani), that is w hat is expected to
be seen in the work of a painter, to make it alive with
rhythm and expression. Imagination, observation and
the expressive force of rhythm are meant by the
legends of the origin of painting, to be iU essential
features,)
lThe Vishmulkarmottara clearly distinguishes between
drs htu and tulr$htat the latter comprising things
invisible or rarely to be seen. The drshfa, things that
are seen easily by ordinary mortals, excel in what we call
landscape-painting. The hours of day and night, the
seasons are described (Ch. 12). There w« tind a dose
connection of mood and time, which reached its height
in the RtvgmiUS pictures, where season* hour, emotion and
music became fused as painting./ At ihe same time
details are observed with Such sincerity as we find in
the pictures of Dutch master*, for instance, in the
description of the drinking place. The light effects
sought to be produced show a very sensitive reaction to
optic effects as the faded light, of Um candle in the
morning dawn. Yet we are told that mo on shine should be
shown by a Kumuda flower in full bloom, and sunshine
by drawing creatures suffering from heat. In one
instance, atmospheric effects arc observed, while in the
other, the behaviour of one object or,the other, reacting
to the atmospheric change is represented suggestively.
CENTRAL LIBRARY
INTRODUtTJ ON 11
Tliis interest in the living individuality rd tin1 single

forms of nature gives to Indian landscape the charm
of story-telling.
I Side by side with the naive joy in the variegated
forma of nature wc learn that rivers are to be represented
in human shape, a* was the case with them in Greece,
hut they should standon their trfftuna#, their knees
should be bent and tfleir hands should hold full
pitchers*! What an amazing association of idea* f The
personification of the river put again into action as an
ordinary human being, bending down under the load
of the full pitcher of water drawn* from the river. This
versatility in visualizing abstract ion- and actual action
replaces the mere observation of nature. That seas should
have water depicted instead of a halo, or ihaf art artist
should show a pitcher to suggest a lank, a conch shell in
representing a conch shell, and a lotus flower in representing
a lotus flower, onco more points to a matter of absorbing
interest namely, the single form of nature exercised
oil the mind of the artist. lie rendered it faithfully. Yet
where large appearances like whole livers and seas,
landscapes with rising suii*+ civ., had to be painted, he took
his refuge and delight in introducing persomfi cal ions
or such actions of sonic members of the scone appropriate
to, and indicative of, their surroundings. The Indian
artist never took the world at a sweeping glanceJ
Observing the details of appearance, the author
of the Vishnudharmottara describes the different types
of men. Country people, (he nobility, widows, courtesans,
artisans, wrestlers, soldiern, etc., arc vividly described
in movements, habits and features, peculiar to their class,
while, at the same time, most of them belong to one
of the five standardised types of men, called (1) Hathsa,
(fl) Bhadrn, (3) Mftluvya, {4) Ruchaka and (5) Snsaka,
Their respective measures should be 108, ,106, 104, 100
CENTRAL LIBRARY
12 INTUOL’IVTJON
and riQ in coutratlistincliorv lo ihe measurement

tiivcn in the Brhali SamhitA, where the relatkm of hizuh
13 inverse, 96, 99, 105 and 108 nfrf/ufa* respectively,
V detailed description of lhe 5 types is îven there*'
* JltAS* V<JT VIJ, JS7S. ^ \\

Ttio BrLiil SiULtliita (InDiUbd by H. Kern). |»Pl 1K3-37 ;
1 -If B>' Jllfltti being it) its posvtr wi!! 1>jJ born fi lh’ jiltioei i j;e cf Anoiniliafad ]
HnMhijtij' Satnrn, the nun ; by Mar*. |hc I Limb ali 4 ; by >t«rcuryH IhoBhitfri;
:LDil by Va-DUI< the M iltivyn,
i"i Tiro Ji iigr-i and ilretfb fll the ll-niiai m of ImH dj^Lte. Xba peranum;**
ifCiu^ hy I he ijjqks of HgrlRlii, llhjidrn n,ni] Mfil.ivya, ;ire osoh tallrr tti in
llir one by Hircn digitp*
(JUl Tbr- MllivjA will be murked by Anna roflCLubhnfi >u elep,li mi 'a trunk,
by hntjil* TCJk’lijDH; tm lbe kuc^B. Hifl TOCttiLL'Tfl 4ind jninia iTc rteaby, ber hpq ri
wi-'-ll f'ioptitlisind ■nd nrjl frtfne, ind a tender wiiit. Jli* f*ce. of oblong Form,
Tt)r llli]r, :i ] ; L3» Hie Ei inEVi TflO LneiJUft' lif-twf’eti tliorifd bring tbriio 4]jjît4 ].-u.
Ho Li vr Gtrjf eyei, coratly ctieefc*. ovrn and ^hilc tocLh uml not ti.-o thick lrp|ir
III) Il-^v-ing-by hia vilpor obloiEJi-'J weriLih, Ij* will, residing in [Lo ret-aBBea
uf Mount F'LTiylLT L, roi^D u n VTJie kio^ molt MiUn, Uifoub, SurlibtfUi
PiLnJo. MmI ho forth.
115j Tfiia Uilrvji hill .' the ag.; of jig ■, e yl. v jo-ara piously dopart frotu Ufa
At a ] -vt (■! pilgrimage. ITjvib^ ln due form )ri■ il. . 1'.J the obotât+riilica of tliiu
BiAU. I tign I'TDCEtd LQ IDuiitlpn IbOBfc of [lie otlicri.
U3J TbO man Ubadr* ia iDirked by liiTirH Ilia arun thick, cûid, found und
Ion-, hn (ccLg^n lb rfjoil to tbe atreteb of Eii* until from OPO aid* to Ibfr other:
hia ebueks Hiautirfei) with aoft. an.all md don&a hitri,
lo IiLb oaiLitalu bloti 1 kin an J apertu ate predominant ; lu* bre-nt ia broad itnd
ibick ; I111 pHTHliai <iujlilj ia ôodaBii. iiohn* 4 lig-.r-lik, fooa, ia stcadfaift.
forbearing, viftnsmi, _Ti.(olnL ; l.e hag, ibo pace of *n cbplifinl, md Imidî irmny
■cfo&Mo;
1 L -■ ^ I!1' JB toâtiuii*. li.uitlunitr. . Ju-.ei lii m.o irU. L. -iij.iihi, bd idopt in
pliilwjiby; hi« 'I..- foTolii .iJ uljuL tocidpLi * ^tU-aliitjMJi the lajua tin*
hanija nn.i L Ijtl i like tli# Idihi ■ n-li^, tlie 11 '["me. tho ey-rbruiiVi1. 011' u J.nii
Mil-knit.
il'ii Hi. [tgriiJii amelia Mec aarLIi h heEv Eitoiat (ll-llj 1r^-4b raia. or 4.’jjnLi.]fi.i(,
-affirm, fronrul jak-v of elepfauU, aôlLwhom, The luir ol hta L*isJ ta black, curlaJt
aTid aooli Hj.le t,u li tiiD^lo Jêir baa it- own ihore.
il^j Should bis ltd Rib conif to frf (L|{lLb atid hi 1 weight 10 orio bhnta, ihû In-
Will lie b.rrl over tl,,j SI uJiJIo country : but if fan have the full mûinc iiiipLiod in
th« (TOfda ■■ !liI 11.1 by tlucn Ji,B)li " be wtJL be FfnperOT of ibe wbulo own try*
(lu> Af[*r d4tiriUly niliEig th. Cihtintry b< arijuind by Ilia bravery, 1 hr Blibdn.
*t eiftbty jt^t. LA .jio. Will depart From liTe at a pla» of jmEyrimiyo and f& to
hciL>i-n, ^
i^M'lbh V^J ........................ ... rlli^rwia* ftno Eiru rj.. j E,.
blubber eyci ; ll -wjIi [i ate j lie lakra ■Iclij’lib in acirnce, mimpg und Irade; lui, full
clueka, ■» f»Uo* a fioneral; Itmd 0| loie a apurt and ârtiji lo Otbttt men'*
CENTRAL LIBRARY
INTROIDUCTTON 33
Tbo figures umy appear in various positions, of
which nine arc the leading attitudes :
^reoqI*rfT (ijvagatft)—the front view ;
(“) Caiirjn^—the back view ;
(^) *TZt&7mfV* (B&chlkrtdisarlra)—bervt position
in profile view ;
(4) 'TSfWlnsT (ardhaviloohana)—Lhe face in profile,
the body in three-quarter profile view ’
(o) TTTrsnra (p&rfvSgaia)—the side view proper )
{(\) {pamvrtta)—with head and shoulder-belt
turned backwards ;
to (pFshtliagata)-—hiich view with upper
pai l, of tiie body partly visible in forlorn profile ;
nivc.1 : mttui. valorous, cbcdicut to bit mother, and attached to wo&la, bilta, rivere
and niU^rnriicg,
i be urn.' :a iUspujirrug, and l keen observer at another s points.
Ho id 93 digits in length, and, act heiug very heavy r ha* a soft step, Tit.' cl.i-rf
£cmtilu#i]l cf l>ia hotly id marrow.
E'JJp HJd nmai is ilcqtjff.
Ciyj This wUl be a IriirJer chief tain or pmvi dl'i'■! ([oiEMiaf............. Hr
Ml], bevenly yvat* old, roach Tuinaa home.
Hie cnAfL^ of fhe E1 ilru-s» nrf : 1 hLJ niniith t^l, ilig ijqg iôlJ-tcloureiJ, lall>I,
showing Illicit alitvkg and ntj elevated noaa ; the head renml ; Llm cj-ff hoDcy-like.
inula wholly fed etc.
Ho delights in w iier...... ... Hi* Jeo^tb taiordiD^ -to the ihteiuenl of
the £ag(t« will be DU digits.
f^tj) Tlie Flanid.4 will iwmcb-i th■■ eotm-try af Kbas-i. ■îira.yeno, <.i ■ rnJh iro, »nd
the land between the (Pangea pud Vumncfi.; irfter exercising ihq toysl power far 00
)'fjre. he will meet dcslh within ,'i wood.
1^7) Tin- worthy KunImLa by fmfnc will tmi good eyebrows sad half*; a ted
tm^nd dusky coLonr, a nock marked wii.h Lhtct-fold* like a hIil-JI ; ;»ti ebtabg fuc .
He id brave, crfcfl, .m rgrt^risUi cOkknadlor, i oliiel! «I rsbbtlivi dttd e prUcluicJ
soldier.
(ItS.I The nieiBure of liuehitVii i lace, in length, being l iJi^n four times, flue* the
mc-Limrn uf bin middle, Hjb dkio ia thin.
i.2HJ <.i.u.r. llis length in n hundred digits.
n:(01 He is jiu adept in charms ninl ^]> Its-. juJ Inks Ihin I. nee* m<l left*. Wheu
tins HochaliLT ha* (Ogncd as king over Ehc Vindhjn, gahjogiri and TTjjsio. lie will on
reaching seventy yc.u'a, find Lin death by award ur lire.
Ull i Them are five oilier dfOd, who will he Die nigjiJssir of the le^menliAoel
bontreht.
lluAf Th1' fkiiinln'r cd dkgils which make the mom ore of ai'-n'j heigh- m. fp.r Ihe
t si Lest, I OS i for those of middle height, SNj ; hn1 The shortest. Si-
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If ENTROIKTCTI ON
(S) qf^BTl(parivri.in)—with ihe hotly sharply turned
back from the waist, upwards, mid lastly
(9) tt*tt=T?T {samfinata}1—the back view, i.in squatting
position with body bent.
In a further passage thirteen positions are enumer
ated—which, however, is clearly an interpolation.
1 hose positions are obtained in painting with the
help of k?aya (^rcr> and vrdShi (Ffab decrease anti
increase, that is to say, the science of foreshortening.
Foreshortening (Kflsya and vriddhi) and proportion
(pramaâ) constitute with regard to single figures the
working of observation and tradition. The law
of kg aya and rrddhi was as intensely studied by the
ancient Indian painter as was perspective by the early
Italian musters. Frmn&na, on the other hand, was
the standardized canon, valid far the upright standing
figure and to be modified by every bent and, turn,
1 lie Hanisa measure is detailed in full ; it is of
I ho nttvat&Li type. The annexed plates compare
the uttntna tiaiuUUii measure of the Vifthmidharmottara
with those found in the Ur hat BamhitS, Sukranii isara,
ChitrulakshnQU, and with the [ llama on vatsJa in G. Rao's
Tula infill a r •
Though not distinctly mentioned, ii ia evident that the
body of a deity should he of the size of a Ha tils a* RikIiis,
(dandhurvas, Yidyfid barns, Daily as, Dilunvaa, ministers.
Brahmins, Samvatsara (he., Siva) {sit !) and Ulo family
priest fpnrohita) should be of the size ol a Bhadra.
Vakshna, prostitutes nud Yaisyas should have the size of
a Ruchaka, Kiimaras* Rfck&haa&s, Nagas and domestic
women should have llie size of a Miilavyu, while the
chief icmongut men and the l^Tulras ( !> should he of the
size of a Sa&iku (Cli. 12).
m
■ if. ai]ptn,lHi»H Ch 04, it. tlO-tlQ.

Mpiu^rt ijI the iI^Ril-aI Sun-«v ,,l jmU, V. $, |JJT. -ji.aj,
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introduction 15
Together with prarnttyn and and vfddhit Hip

know lodge of modelling or shading (vaHtana) was fully
known to the Indian roasters of old, tt in stated to he
threefold (1 > pal raja (Qaarl—cross lines, pi) iiirikn
{TfcfVÔ—stumping and (3) vinduja —dots (Ph. II).
How much observation and technical experience is needed
to state their results an such clear terms will he under
stood. YeL “ whatever the artist represents lie should
avoid placing one figure in front of another'1 (Ch, 43).
Once more, one notices the same counteraction of ah»tiac
tion and observation as in the case of landscape painting.
A logical employment of k$aija and vfddhi would have
implied overstating. But the Indian artisl cherishes
every single form as a whole, as containing all he has
to express and a* containing the whole of nature. So
he cannot bring himself to cover and hide one of Jts parts.
As for the employment of colour, we have the following
information from, the Yiutmudharmottara arid other sources.
Five primary colours consist of white, yellow, black, blue,
and colour of the myrobulan according to our text {Ch* 401,
or white, red, yellow, black, green, according to our text
(Ch. 27) and the Ntttyn&dfrfl ; white, led, yellow, soot and
iyautn (dark, blue or black) according to the Silpuratna. The
Ablnlashit&rtha Chimnmapi (MS. 12 ct,, Mysore library)
knows us pure colours, white made of conch-shellt red
(prepared from rod lead or from InktnKn juice, i.c.,
lac, or from red chalk—fftiiiiku), green-brown (imrit&la),
sulphuretted arsenic, and Mack from lenjjt-ttht (soot,
used as eyebiack).*
* \ plmln taken b«rc» realorulton oJ Qua of tlif rcmiilL' patur.-d #h ih^

r.H h ,i[ Sifliriyn tlmw* iliti vjriaili hIuhIih^-
* I'rof. B. M. Eamt drawn out aitenliuu to mv L«|id|-ltrl (Ij.-

S^ppyum-HikrvyA. Furt III, p. 153, wlitfrp i\\e TSmliUi > bu iaridrci tally netlUanttl
iTir foUowi»hT ûlj*UnL’tPi bv H,r dyer* or piitalern far |i ii>|»ri m:
Jjy„ ftT : 111 leain Ue tltklitj* tmw™ i-nJi|^^ (nUl),
in 11 > I Luinider lnuifj jc^th!),
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16 nmionwriGN
The mixing rtf these colours is left to the ingenuity
of tin* artist, TTr may cont them with hie and resin,
Colouring Biibslances rare : gold, silver, copper, mica* deep
coloured brass, red lead, vermilion, tin, yellow orpimcitt,
yellow inyi'ohalan, hie, indigo and simio kind of imp
oxide. Prescript iona for 1 lie preparation of these
vegetable and mineral Colours are given in the SiTparalna.1
IW chalk for instance ougly to be ground on stone
and left covered with water for a day, red lead also
ought to be ground and covered with water for half a day,
red arsenic, however, should be made into powder but
it should not be covered with water. Then the colours
should be ground once more and again put into water
lor five days. Afterwards they should he mixed with
the exudation of the Xiinba iree, then at last they are
ready to Ije applied on walls and in pictures.
(hJd leaf should be divided into finest leaflets, and
then ground with a well smoothed stone ; afterwards
it lias to K- mixed with wafer anti with a small amount
of sand. When this paste is well ground it should
again be put into water, so that jiII dirt may rise to
the surface. The gold pitafe should then be pressed,
mixed with rajntUpa and applied with suitable brushes.
There were nine brushes for every colour/ When dry, the
artist should mb it slowly with a boar-tusk until it becomes
bright. Then again he may place over ibis very fine gold
leaves and rub them with, hard cotton. The same prescrip
tion is to be found m the Abhilashilarlha-t'hin-ttimani.
Ah to the preparation of the ground, buffalos kin has to
be boiled in water until it becomes soft like butter* The
water then litis to evaporate and sticks have to be made of
the pa-ste and dried in the sunshine. This hard plaster is
* Silrlntba, CU, AH, JlV'lttt.

1 Cf. I£. I*. Jayj4**1, A Etinflu T+il an Piljiling, Moiforu Hrriftv-, XXXm,
734,
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INTRODUCTION L7
cjilltrd vafratcpa*1 If then boiled in a mud vessel with

water, il will make any colour fast with which it i*
mixed, fl mixed with white mud, il has to bv uaed
us coating for the wall, in three layers, each layer
being allowed to dry before the application of the next*
On this the painting may be applied.* Previous to
the process of vajraiepa coatings, the wall has to
receive u thick coating, consisting of bricks, burnt combes
and the like, povfdered according to the Silparatna, and
mixed with hand, the watery preparation ol molasses,
and drops of ibe decoction of mudga (phuftevlu.i mnutjnt
mung pulse) amounting to a fourth part of the mortar
powder* Into this, smashed ripe banana fruits have to
be put, also a fourth part ol the amount of the mortar.
After three months, w lien this mixture has dried up, it shall
be ground again. Then il in list be mixed once more with
molasses-water, until it gets the touch ot li'tsb butter.
In this stage it should be applied to the wall with a
spoon, the wall having been cleansed with cocoa mi! fibres
and having been sprinkled for some time with molasses-
water. This ih the twofold process by which 1 be wall is
made ready for the drawing and the application of coloursL“
The outlines ought lo be drawn in yellow and red
colour ns a rule. 14 The painter should think ol the
proportionate siê of the thing lo he painted, and think
of it as having been pul on the wall. Then calculating
its size in his mind, he should draw the outline marking
all the limbs. It should be bright in prominent places
and dark in depressed plates. H may be drawn in n
single colour, where comparative distinction i^ required
If depressed place. are required to be bright, jer black
1 Fiit tlir pTnjVat Litiiih iif VtjriLnpi «f« Dlh*l âmUitjs. Ch. 57, AbilllialulAtlJil
Oaim|td*Qi. &i3 ind fablonvi^SL unJ Wlpantu'i 131-103
* y<jr U:h pr4ft*.lMB *F th* WBli iM.ltrneUfc Vnfo.k-p.i * TLr. CP
Vl«hqudlimrmotl»r>t, Pan nt. Cln. 10. v*. i SUW«t*U sut SiLpririlui*. U-TJ
* ALhilu*l.l(AilU» CliJiSinjuijL, tHj-
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ie tN'Crt DEDUCTION
should 1>e? used." ’ The modelling capacity of the outline

is also dencrilK.id in the -YrtldhasuInbhimjikiS. This
outline has to he filled with the first colour wash, which,
sis a rule, is white, but according to the Vishuudhartnottara
also may be green.
The colouring td things seen, says the Yishnudhfirmotfcara,
is true to nature. Great emphasis is laid on the
thousand fold mixtures of coloufk left to the imagination
of tlie artist, and on the light anil dark shade of every
tone* The range of colours must have been wide enough
to render with subtlety the local colour of objects.
The different tribes and castes; «f India arc thus
distinguished as dark, when belonging to the I’nlintlasi
and people of the South,1 to Pnnchitfas, Surascnas ami
Magadhas, to Augas, Vailgas and Kabbgas, to fSudraa,—
to sick men and to family men engaged in toilsome
work. Siikas, Yavanas* Pal lavas anti the Yalbikas
should be predominantly white, and so arc the twice-
horn and the Ksalriya^, kings and prosperous people.
Those who arc oppressed by evil stars arc of dark colour.
And il fs also clear that evil-doer^ ought to be nf a
dark complexion. The colour thus has partly descrip
tive and partly suggestive significance. The rf^sfifn and
adrsktn hold their sway; symbol and i! lust ration are
amalgamated into an expressive language, keenly alive
to all Lhose visual impressions that are on a small scale,
obtrusively finite, and seem to carry their meaning
expanded within their outline), as local colour. But this
ambiguity nf ihe colour in its suggestive and descriptive
faculty was clearly kept apart. Taken in a natural
istic and descriptive sense, the sky or llie atmosphere
has to be painted as almost without any special colour*3
The iky., on the other hand, of the colour of the blue
' i’jm ux di 37, £7. Ni^rtlakU*.

1 Tilt m( cu. 13.
*
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INTRODUCTION
20
lotus and wears a garment of that colour* if represented

as a statue* when* it should carry the sun and the muon in
31k hands/1 Colour symbolism underlies not only the paint
ing of statues which, according to their Sattvikfi rajasika
nod itintnsikft aspectb, had to l>e painted white, red or dark,
but \v«u respectively selected fur rnsa-chitraBt the pictures
of emotions, which* according to the dilparatna* formed
a group by themselves, distinct From the realistic pointings
that were resembling what is actually seen in nature and
Looked like a relies in a mirror.1' Bach rasa (emotion)
had to he painted in its expressive colour* the vrngara
(eruiiei was of tnjama hue* the hi ugh-exciting (h&sa) of
white eulour, the pathetic (karuna) of grey colour, the
furious (rudra) of red colour* the heroic (vfra) of yeLlowUh
white colour, the fearful (bhayfioaka) of black colour, the
supernatural and utnaxLDg of yellow colour and the repulsive
(loathsome, vlbliatsa) of blue colour/
•The esprcsftioiM.sm of colours visualizes a tempera
mental attitude imri is concerned with the wide range
of emotions. Yet side by side with it, colour in its
descriptive quality was made use ul to n large extent,
ll was not only known as local colour* distinctive of,
and unchanging with* the various objects, but also its
nurtTi fictitious due to light and surroundings were
considered, *' Yajra said : my curiosity (reus) high, and
I wish to hear (morei about the true and untrue colours
of water* mentioned by pja. ^.Ln-kundeya replied : The
untrue colour of water resembles that of lapis lazuli.
It is the cJTect of the reflexion of the sky in water.
But the natural colour of water i^ scan m the failing
down of water-falls; it resembLca moonlight.'' *
F»rl III. Ch. Hi, DftMi l-s

1 Stl[iht,tId», vritti IU'1 I7l
■ Qh. VI, T*r«i lid
1 ViilRHirilipt^turv ChT AS. Vfriiti 10-12.

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20 INTRODUCTION
The abstract ami the realistic vision, which, as a rule,

we bold apart as judos in the evolution of nrtT isolated
from one another by gradual step^ of development or
by the sudden gap of reaction, are but the two sides
of Indian ari, contemporary and organic, for the obverse
is turned towards that which lies outside, changeable,
alluring in Us variety and provoking observation, whilst
the reverse faces the within, Essentially unchangeable,
because continually stirred up by emotions, of which
chtlariir, the life-movement, is the common source. To do
justice to them a language of symbols comprises colours
and measurements in solemn hierarchy^**‘
YAfter having dealt with tlie theory of painting, the
^ ishoudbarmothtra, Chs. 44-85, proceeds giving directions
bow to make images of various deities, more than eighty
in number. The purpose o! these images is to have the
J' The Vi«lLijui3l,*nnottir4 d^lar^ tha rultu Iqi pamtLDg a* viltJ hIao tor
^nl|Hirrc. which fitter may ho hollow sr muflire fCh, 131 ; norii notifiltig
™° ***W|tte hallow sculpture n the tUa of >lnnt voUcd with cl*y *nd P.M|>[LJ
ovtf, Hollow figure* mail buve stood njji&n -*i uiLw plâi »Ijo qd Uib ifige,
wli. j-c Of ^xli. .luuijui, afopluat* hef4<r», dec* *&d tuftla wore to bu
of oLky, wlwJ, clatb, IwitÂI u: itm (Cti, UT, v. 3)r
'I'Jjn (emmet) L«r v m rbc Kd mu Jut).a Uy yiiadhiri when tpaakinj-about Uji
Sa^nDir:!, lftnbi of tuiotin?. Cr.nip1-bhd.f4,. prawlnam, bhtrf, Jlêgja*
>oj.)HiQj, :tn ) v jrpilearhhi in ■■4 refurf to tha catPônca of type, jjropotliou.
reujoricin, at ujuqI {r+**l embodiment of jiftJ-c, point of view (with reference to
nth^nam aud to Hie preparation of colour^ ic/, OoouturaiwuBy,, Bimtory of Indian
Mt.l Indouei. Atl, German e iintitw p. yyj ; nil tbc*a c*tckohj* ;ire dealt with by tha
Vi Rtiqud h tnu alt uo.
1 Silica tlir [ ■ iib L1 r it Lvii of 1 Lie Oral t-Li lion a niiiiiber cl pitiatn^-rri rrfdrrin^ to
P*lulinn* hiv* born lo mil nnlirî 'pipe lallDiviai1 dcritrvri l. pcci.it me-iiEmii ; Sah..
vutf imltLiTi. H.l]I+px I5¥, v. It whr-rc punlioî td miJ, mil female liûrn, on
rtLAii JrT! boirJ*, Wil4+ ■ii.Lunflotblird ditiiUlifiL Tin* i* I lie e*r|ic*[ kn-nvn refer a are tu
w4!L-p>iDti4B, and it Liming on w»dtii bourdi end ,m «loth. Aoetbu JalcPaitlnfl ijua-
u,mo fl (I la Bu J. Hi 1 ^tio ih I' ■ full] Ml HI - ury H 1 n ,ty u Uikkhu PictiiUyi XWl tlir<>wi
lidht on the ilMiq whj Bii4dU* objected to tba nprvioDtafcfoa'or figum i—'■ Tha
Cfebjaelion vum tiiWb«luH the Wm, I j*1u ii jr i, „ft*T h*vin£ ,|j*r| > yeHnw flartfwul,
mmU vir^j, object £on»bta ropraaan tatilgn, in. it ..r mdi) ml famtJa Sgurai ia I ha acL
(,! dalliance — Un^rmcm made bf prof. Dr, ft. U, BaruaJ. Th.. (4*1 *Vo aboâ
ibai noi 011I7 wara paintrngia mada «b «loOi, buL eEotli Itaclf wa* .lyeij qo ■■ lo hc
Jacmaied «jcb hgurî, « twliaiûa for whitii n>iicl> later Uaatd ip at a m In &. India
bacame ItODUi.
U -24 5
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INTRODUCTION 20a
deify nearby (cf. p. 31 ;iiul p.66) to he in actual eoiuavl with

it; the images thus actually hove become “mingled with
men/ as n had been declared by the Rtipn&th and other
rock inscription? of Atioka, about a millennium lx?fore our
text was compiled/f Out of the pantheon, leaving aside the
avatirs of Vishnu anti his aspects as Brahma and Siva
in their respective varieties including (ho correspond!fag
goddesses, prescript ions for the making of images of deities
scarcely ktiowu at present as actual sculptures demand atten
tion. The Nasatyas, for instance (p. physicians of the
god&y the Manus (p. 92), the Mb ruts (p. 9fii, the images'
ot Art ha (p, 96), of the Samavcda, and of the Rgyeria
(p. 98), arc personifications of a most variegated nature.
Beside these, however another group of 1+ visualisations “
ia of no small importance. Directions are given with regard
to the making of Litigant, Vyomnn and Aiduka. Whereas
the first symbol is widely owed, the more complex forms
of Vynmunand Aiduka(pp. 100, 108) are unknown hitherto
as actual objects of worship. Both of them seem to bo the
remnants of an am conic cult, the plastic equivalent to
sonic degree, of the graphic yantras. Their geometry
strongly contrasts with the fiorid features of the anthro
pomorphic forms, Vet a connection is established, between
them, the yantra and the anthropomorphic image, by
the minute description of the lotus (p. G6)t on which the
worship of the gods should be performed. This lotus
should be of metal or some other material. Metal is
mentioned in the first place on account of the possibility
of minute execution allowing for n precise description with
regard tu the number of petals, the distance between
pericarp and petals and so torlh.
It is said that by worshipping Aidukn, the worship
of this world should be regarded as accomplished. The
► "Thcur acl* who durinB TW tirm b*H her" unmingl** {with i»a_) in
JinferitHjp*, li±™ i.^w l)»u eoiJfl (hy mdt m,o$U4 mill °f- **■ P- i
Th<r Art i-J K**t*rn lodt*. Uuioir, A-6.0.T-M,. 3J. r- Ll-
Gc_s 5 5
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20 b ENTROUUCTION
form of Aidukii consists of a combination o| various
stereomclrical figures, the Litigant ;md the figures of the
four lukap&las. It is a complex rendering of the Litigaiu
" by worshipping wliitzii die adoration of the world
should be (regarded as) accomplished and of the
Vyomao *Lbv the worship of which the worship of tlic
world should be (regarded as) accomplished*’ loo (pp.
100). Vyomao (the upper regions consists of cubical and
spheroid parts on which js established an eight -pc till tod
l.iius with the Sim god in the centre, and the Dikp&las in
ih<jir proper places. m
' *
The "yd- lit rad- ike nature of jthe lotus 1pedestal is

suggested by the lotus shape which yantru and man da hi
as linear representations take. Its van trie character
moreover* is pronounced by the Yishâdharmottara (p, G7)
stating that 4* that god only jind no other should be
worshipped on llie lotus^ by contemplating whom in mind,
at was set up.' Phc lotus therefore is no mere pedestal.
ft is magically linked up with the image it carries. A
similar magic can be assumed as connecting the various
stereometric parts of Yyoman and Aiijuka not only, but
of all the 'bhadnipithas that serve as pedestals to the
images along with the lolu^ and serve ah plinths with
or without lotus profiles to mediaeval Indian temples.
The temple builder and,the image maker were working
oil the same foundation of n magical suggest!veriest! of form-
connecluma. But the rules valid for both* apply to
painting too, as far they can he applied ihcre. The
prescriptions translated in the following pages are valid
for images as well an for book illustrations.
■m
This common basil* of architecture, sculpture and
paintuig—-it was.shown that it primarily underlies dancing
—at limes is responsible for a fusion* of the various
disciplines of sculpture and painting, for a desperate
attempt of visualizing what perhaps is beyond visualisation.
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INTRODUCTION 20c
Says the ViBhQHdharmottara with regard to the

image of Hari-vi£varupa (p. 107)p according to the
capacity of the artist that god should he made.... By tbc
way of painting one should show according lo the rules
of the ^jlstras the whole aggregate of the three worlds
attached to his body. This prescription in its endeavour
to render abstractions in a concrete, tangible and visibly
form stands in glaring Contrast to a prescription like the
one about the making erf the image of Vyoman. Two
utterly different trends of mind, two utterly different tradi
tion^ are placed side by side and intermingle in this treatise
on image-making. It stores up old heritage and the practice
of the day and Eit times proves that both are older than its
words, that cannot avoid at limes interpreting scholasti
cally what imagination- and representation had achieved
spontaneously. It speaks for instance about the mottled skin
of the black antelope, explaining its contrasting colours
because all sacrifice is propagated by work white and not
white (pious and impious). Nevertheless such doctrinarv
scholasticism does not detract much from ihe value of this
treatise. It is common to all ecclesiastic literature on art.
For most of the images definite colours arc prescribed
(cf. also p. 33). Nevertheless no trace of colour is to be
found on stone images after the Gupta period. Probably
the colouring referred to representations of gods as book
illustrations and in pictures only.
About the form of worship once only an allusion is
made (p. 102) with regard to the image of Dharma. ** Only
if anyone is accompanied by his wife and then is initiated
(into the mysteries of Dharma) then Dharma should be
(regarded as) established /h This reference to the Dharma
cult, exclusively made, corroborates the dating of the trea
tise as belonging to the seventh century approximately,
when the cult of dharma, being new, deserved special
mention. No allusion is made to any form of the other
well-established cults.
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CANON OP PROPORTIONS
t 36 >
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CANON OF PllOFOBTIONfl 23
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24 CANOX OF PROFOJvTLQtfS
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i ANON OF rHOFOltTlONS 25
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2C. C-.VNON OF PROPORTIONS
‘
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CANON OF PROPOimONfc 27
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* or (turn
t t E I 9
t * t m 9 9 -
t I 3 9
s K -
I
J
.
3
|i * = = t • *
I
a
J
i,I'illMi!
IJ11 j}
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TRASM.ATIO!*
He
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TRANSLATION
1T Part III, Ch 2, Verses 1-9,

Vajra said : (Oh) sinless (one), apeak to me about
Uif making of images ol Cities, ao that (Lhe Deity) may
remain always close by and may have an appearance
in accordance with tile S&stras.
Mitrkuodcyu said : (Oh) Lord of men, he who does not
know properly the voles nl chitra ' can, by no means,
be able to discern the characteristics oi images.
Vajra said : (Ob) propagator of the rare of Bbrgu,
be pleased to-narrate the roles of painting, us he who
knows the rules of painting, alone knows its characteristic?
in words.
Markuijcleyu said : Without: a knowledge of the
art of dancing, the rules of painting are very difficult
to be understood. Hence no work of (this) earth, (oh)
king, should be done even with the help of these two,
(for something more has to ho known),
Vajra said : Please speak to me about the art of
dancing and the rules ol painting von will tell me i.afier-
wards) for, (oh) twice-bom one, the rules of the art
of dancing imply (those of) the art of painting.
Murkandrya said : The practice of (dancing) i> difficult
tti hr understood by one who is not acquainted with
music. Without music dancing cannot ovist at all.
Vajra said : You are conversant with dharma, tell
me (first) about music and (then) you will speak about
the art of dancing (because) when (the former) is well
■ (jliAri, t,ri Ritlpiuiv id HitrDunJ, ttiiaf iBd piLnlmji- (■/, Ct. Ifi. Sil|iirdp^
npil K, l\ ± HjuJu Te«t i :i PuDtiBJ, MvJ, BAvir^VoL X.XXM1>
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32 TKANS], VTIoN
known, (oh) beat of the hhrgu.-i, (n man) knows dancing

too.
Miirkai.ujkya said : Without singing music cannot he
understood* Hr who knows tlac rules of singing knows
every tiling proper lv.
Yajra said : (Oh) beat of those who support dharrna,
please speak to meahout the art of singing, as lie who
knows the urt of singing is die best of men ami knows
e very thing,1
2. Part HI, Ch, 27, Verses 7-26.
(Oh) king. [ shall now speak to you about the prepa

ration of the principal colours. (Ob) heat of kings,
there rue five principal {colours, ri#,f white (Sveta), red
(rakta), yellow (pft*)T black ikrshna) and green (hnrit),
Li would ho im]x>^sihlc to enumerate the mixed colours
in this world (which are produced by) the mixture of two
or three (primary colours) and through invention of vari
ous states or conditions u\r., shades or tones). (Oil)
best ot kiugPj now I shall speak to yon alxmt the division
of dark (syfima) and white (gaum), which is due to the
great suitability for getting mixed, of different colours
of this world, from which the twofold colour of all is
"explained O'.c.j tJif light and dark shade of every colour).
Among these colours*, the white the light shade)
should be of five kinds and the dark of twelve kinds,
Bright (gold), light (white), tooth-white, pure-sandal-
w hitr. auiuiTui-cfoud-wkite and autumn-moon-white—-these
five traditionally arc called the fivefold white (light
shade).
{The varieties of £yBma) should bo : rcddhdi-dark,
mttdgu (brownish) dark, dftn s sprout (greenish) dark and
' li. rr ItHli .we » Itpgihj nccvuni >.| tk Jtl i.l inking, iU iin.J urjgin
1'fcrt III. CL. 3Tt

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Til A NEGATION 33
grayiah dftck too, (oh) king, tawny dark and topaz dark,
dark and monkey dark. Then comu
blue-lotus (rtflAlpahO dark nod blue it* iIu- mtakn^ha
bird and purple-lotns ir.iktul pa bu <jnrk and cloud-dark.
J heir application in said to be in accordance with 11>e
colours ol (the respective) objects and they gain in
beaut} by iiltertnixturc of colours.
Having ascertained will* piccision the minors of deities,
1 shall apeak now about them. Among them, nil
those of whom I shall not s:l> anything, should hi*
painted white. Vjlisuki ] should he of &yam*i Crolour},
the Hi'njax should he white in the dotipani (age), anti
the daitytis, df*nurttx, rAkxha#<mt, tjtthytikajnt pixachtis Eire of
the colour of water, without any glow th'L unglow-
iug by colonn. People in the six islands should l>e of
golden colour in the continent of JarubmlvTpa, excepting
one.........I>\ imiiTidv}, Bhftrata, toLs king, In Tth&rutu,
tpeople) born in many countries should he panned
Pul u ii las rind the people of the Deccan are mostly
dark b) colour, uvhile) the Sakas, Yavun&s, Pallsivus and
those who are the Ynlhikns horn in I'tUra pallia should
be predominantly white : Pafichrdm, £i’ira*enas imd
those who arc of ifagndha, Align, Yafiga and Kaliftga
tire mostly dark. Twice-horu pmcs.i should la- painted ol
tin- colour of the moon and the Ksliatriyas of the colour ol
the imlnm (white lotus)- Yaisyna again should be (unlyi
slightly light in colour, and Sadia* dark, thindharvas
ami Apsurrts are traditionally wnid to he and were (actual!}
piiintod) in many colours. King* and fnosph roiirt people
are of the colour i>l the pmhti*r. 'The sick, the evil-doers,
those who are oppressed hi evil slurs, or have taken
shutter in pctuuice, mid all family men engaged in toilsome
work should also he dark.
1 Miljjii ItiRK.
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Ti; wsf.VI'H'N
Tin* (utiKir of UuTigs ntvfi, should bf |' ULiit*,<l reHOMibling

<tln-ir upturnJ totouringh
3 Part Ml, Ch. 35. Verses t-18+
d:tid Henceforth I slull s|K?i»k to you,

loh) -inltl>s (oifcc), :p Ik>iiI T lii' riilfS of rhitni. While
orbiting t' t v:isJ iu d; i \ ^ o l yonep*tlje rules of thftnt (wore
t-vtjhedj b\ the wagi1 Nftrftvnijii, (oh* null of the king. for
llit' g...... hi»f tine world. The groat suge lor deriving
tin- divine (kimpela (td rowdyl mentioned,’ erented tlnfl
1 I'wrl I. Cli. IB'.p, TTrriA l-VJ ■ Vnjr# wrthil : T*» t»e lib* Vtwuwi W** bam *ud
■■'...•* I ■ 11 - ■ h ■■■ -H * ImiLi.Lir line ...i tf.p I....... .. t .i if. MirUî}* ■ ud i fl In*
t(T If;#i S.m a d 11 NOtr.î lu.fnK.lti I F. id? »| Vm I -e/iHT, fter* O*
111. til........ . 11 I llji-,1 inn, ir:»j i* I'PinerJy kith].'-, oh i|i' ‘j’C 11 rlii Ij I rtf Yadll. B'tff vrrj'
| wtrlu). lie iti p [iiHiil ihrahill.......- H.f \ i-Ii^..............I nn- iltrnyi H1)!Affd in primnc*,
Then htninl-if:*, churm,inf, full *.( F»p.li = lUMpuHnu mitl> nuhl c^duti- «(
11 e 4|iiKfr m* ■ jll*-.l ,+ llie .-I Ytdari/' TLi it flowciJ O.r QoB£e*
L :rj.i : w .Tin ti ifcli k-«1fd i Dll l.-killit rHimimjl TV.: I !_■ ■ -III and pATjaBila uT
].i >M«< md witl. jj.-M-i • :■-!, Thm ti*« iIri VaJjft *npfc«un□ (j and hItvuj* lull
i ' |]nw«.rk .fiij fniiti- Fnf ihe (lh.-d . f ill niiplijlid, they tJ-n-, ■ I■ c: lofi.lt l»I nit
|wople »l'F. eiin -h.<‘ i in j*ytfs ]icui»a. Ihr-rt. ih*y (wbif wer--i like uper* jim.mj:
■ jtjjti. Wl.^lt ilicf hi. r« Onii rb(.-I pi. i't.,. tiMLHff ptniih tf, qîaroiai huni
H t JlkMK, iltttluiineil l< hir Jr^nCA t.i thTpr ptRAPPrt, hFHt^ tlirlr
be.iunt; MfU 'j- 4jri|jiu..iii«, r.. rh. ICt-1 iihiij.-.■ iih.iri'ii -ijr nud 't pltiwwrn uiid e nil m y
tt...... r Hie* nil ’t . cl. r i r, J. k. OiiCrtc uf thh y.^rj; (leiT, wita -t^n by
wbo, lh' !■*•: **111' ol Oi' St Krird in Mil-h- \r l.i, chQM rml^ diM-b'Tb lln-ir
l+irf.-ie lie ul i Jitil BnUijUtlt I ,iTrj;rf Mill Ih* j. I OP k-ve. | r -h -11 ■ at ■! 'I jjEi-H
I Ti. h l - <■ pi.,J i (nr J .ii rtljgi-'U nt*4 (ill the proper . : i i|al iiifii l i -T t vli iiilh, 1.1 k J rh
U.r HiLrt > f ■ Irimfl tttjr, v m.’Ji «t. i|o .irmHir, Lieot(.d H.fl uyirl|.|i
Hina eIi 1 tnilj■ p 11 l lh t. iig her nn I114 tl'iî. Tide lIkiutcI. 11 e-111 l■ r■ i1 I_y rfr-jwii,
■ Tr-nlc I H.'Ut ■ i 11 kb tlllfll ll'F- igfi [laiiiiLU-. « ,1 * ,ti p'.nt ^ prj miilllllU rnilvwtll
liUFfr f J' -r >i4.-£ 1 dlie 1 . (K) plhdAqirl. tl-■ rule -t.i in qiMra ■ 11 ■ V IK. 'nrjn llainucl, n<]
KviiiiAti liLi hrl TV-, Oil lie TuniII Ot 11,— llirep wurlil.. Itt» IliHl In mtifipl H. iiJrrh.
II ‘Viutf if' ti |i«ft nil lilt Hess ujiMPixhM lump *.1 Mntsu, Hfreul- iWi.J lU pl|iiUit.
Kin^ i LiniLiliiAlitJul dlUm it 'Ii 1 iii ,ii I Lptnen 1.j cui lukity lie cmimc tu h
in ' I Vldun hrmnllgt. Tilt r I ■ ■ ■ n - Ir- e In irjitg I'm! finur-l nl Hi* (vet. < I llutfe tvq
Sidli} 11 whii **tt #U .Jt (Je-iLiterJ t..( rclitfi-jn ati<| ill) iliat (<UrniL‘l} will.
I'li^n 1 HP* linilip 'iLr ■qillicl1 + KrJ, llu itPn Imp-I ■ r 11 ■ Litk|f|M
S4r^Jutr tli p'flr l-nijikinip te-i inn, 11 ■. . 11| ■ rPa I ' burn <j( lln£lj lnrij) p]i.iy|.[ |-r
I’rriPj 'I lit Ijci Uj l.cJKU, lilt will lit Ltiv lumtl allipiCiolH ul tli>- H| p Jt4|j*r*.
lU’iti,: tinik tdiJte-.e 1* he w** llab|lil«i] elul llwH. Ji|1j knJulllig the tw.. itggf,
t-1 brnin Ihtl j|<Fhk*p With pyeq like Lllutfl <d lh. Jinilfg |jfr r.
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Tl:ANri|Jr\T |o\
ij|ekHii Iwiiutiful woinHM. taking tlie juice of the mango tree.

By means of (the; art of vhitra) yht wa* endowed with a
bcimiifnJ form and became the hest apttora, Seeing her
nil the cclcatial nymphs went away struck with shame.'
TIh great «age having thus created (tlic art nf) rhitm,
nitli its nileH, made the iunnovithfc ViAiikurmk
apprehend il.
Jn rhuu-mg us well aE in rkitra the imitnljon u| tin
ihree worlds is enjoined by tradition. The cvch and
their expressions, the limbs ami tlic-ir part- all over and 11..
hands htivc to be treated, (nhl Jn.'?+i of kings, as aforesaid
in dance. J bey should be the sameio i httra Dancing and
<hitr« are considered as tequally) excellent, lienee I am
going to speak about thin by which measurement in ffcuc-
ing was said (to be regulated), h lint mm please) listen :
^Pive types of men should he known, rfa.p Harbsa, Bhadra,
M&ltivya, Kucha ka and £a$akn, I shall sjn\ik about their
characteristics now. Hqual in height and breadth,1 tbev
me all to be known from tlhrir respective) measurement-.
(Ob) king, the meutuiremont (.f a Hatil'sa i- lUO <in<)nhst
increased by JS, according to the measure uf his own
fitnjuht ; a Rliadni has only six angular more (than a
hundred). Then (oh) king, a Mftlavya i> J umptlu.s more
(than a hundred). A hundred is ssnd in be the micumirc-
rnenti of a Kuclmku, and 10 tiiiifulay Jes- (4 a Sfisaka.
The space covered by 1+J artytttus called a h'dn y/
The height id the fed Up In [lie imkles i- *&m\ III 1h three
mnjuiits and the legs ft;re l wo talas (in ineiiHure-
menl). The knees (in length) :iiv equal t" tin- led. the
thighs as long :is [be legs. b'min the navel to I he penis
the measure ts one tdla. The same measurement ihulds
giHidj from the navel to the heart and from the heart
i.f.* i lip I■-■ 11_:11■ njf tin- l-m3> i* C'lu-il h. i.ln- lun^lh ^rm |)iccJj«41 i,luu^ llu
hi4aL>t■ ^4■; kh.nj «rai> fmm Ilia tip ■;[ ll ■ Hglil mlildlt initftr . f tt Jtn Usl
pr.i|,iL»HJHjTL rrrimn]» tic ntur In curefj tur
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tj: \nsj,\TK >N
to the throat. The throat should be ouc-third of a Wita

uni (hr one tultt. Tin* distance from the crown to the
root of the flair (fit. between head and forehead) is said
to Iff one-sixth of it tfi/w, Em Hie middle i.of the entire
length of the figurei is the penis, Thus is explained the
length.
The hand, {oln king, (is) said to l>e n titfu (long), the
arms (nbuve the elbow) scvenft-cn angnItts ami the fore
arm b (jusli as much. Half nf the chest i* 8 nHrjutns broad,
iOh) king, thus has been described to you the measurement
of a Hariisa according 10 breadth.
(An artist* should infer (the measurements) of others
in accordance with this, In ah case* the proportion
between breadth and circumference is constant, oh
lord of men ihf. as regards breadth and circumference
tliey arc all equal}. The measurement of u Haihsn king
lias been told by me in outline, (oh) best <>f kings. (Oh)
lion among kings, listen to the measurements in detail
of each part of the Jimb to be told by me.
Part III, Ch. 36.
Mfii kajid<j> a said . The I lead measures I-2 tntytiltis in

width. The forehend measures is angnftis and has an tdevn-
tion of J anyuitis, The temples measure 1 mignins, their
cdcvfttion being bJ tiuguUis. Tin- tdiecks measure 5
oitfjulus tin length}, and I he chin 1 amjitlas. The cars
(measure) - a ug it tax, their height being 1 migultts.
The middle of The oar measures I angultK
I he nose tneasu reft \ totguhis^ 11 to elevation of its top
being 'l nufjnhis, the breadth 3 lingulas. The nose
wings arc one niigufo Jong and twice as high. The
middle part between the nose ami the Cupper) Jip, measures
bn If an (i/tifiihi, tin (upper) lip one rntgnht and t In ........Ui \
rjfli/idfiA (in breadth). The lower lip is unr iihguhi and (the
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TUANS LATiO N 37
lower hall oli ilio chin two ti/ttjnlus. (Theie almuhl he)
40 teeth, J lit 11 of nti wtguf" long, ol which eight should 1m
large teeth, /Jh of an uurjtda in elevation ; a large tooth
ia our UUtjiiifi broad. The eyes are three: ttfttfHhu? Uitig,
pIh3ii"- bjac-k orb is \u\ of Lhe eye anti tluj cwidtli of)
the pupils tin The eye-brows are three ting ulna long
and ^ an tiwjtilfi wide and the distance between the
two is two nagutast Knfli] the end of tJnr eyes to the car
bides (tilt1 distance amounts Lfd 1 orujttltis. TLc neck is IU
unyn!iifi wide ant! ^1 a itytthtu in circumference. The
distance between the nipples is Hi asujuititf anti that
between the clavicles (i tiwjitlaft. Tbe circumference of
the arm round the shoulder joint is lb ungtilas ; the
pahu of the hand is 7 atttjulvs Eoji^. and f> ovgubrs
broad, the whole length ol the hand being 1-
itngulas. The middle linger measures 3 any ti fax in
kingtb* The forefinger is shorter b\ tlie h-outmost part
than that of the middle linger and the ring linger is
similar. The little linger (again is) shorter by the front-
most part than the ring, finger. All haw three knots
ai the yamo distance from one another. The nails are
half the length of (Lhe distance between) the knots.
The thumb has only 2 knots and measures 3 o/ttjttlas-
The ij-ireuinference of the abdomen is nitynltis- 1 lie
navel is one a-mjula according to the in forum Lion to be
gathered Irom (all) known sources* The bread!Ei of the
hip in IS if/tgutns and its circumference I l nngttlas.
The scrotitnis are I unrjitias wide. A much in cireuin
ference the penis is (i oitfjttfas long—from the middle of
that the thighs art' four tikgulas The breadth of the
knees is twice as tunny wnjiiitis in expanse.
The bremitEj of the foreman of the leg beneath the
knee is thrice of that : (the length being> 5 uagntns
and the circumference U mftgulus. The (soles of the)
feel art: dbg ulus kmg*und t! antjitUtH broad ; the huge
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translation
toes is :J it tiff ulus loig. The toe next (to (he large one)
si mi Inr iltt.' large toe (in length) mid the rest are
less (in lengths hy tin eighth part-. The nail of the large too
16 by a fourth part narrower than the breadth ol the loe.
The nail uf the next loe is ha IT of that, (the measure)
ol ;i LI other nails is ;in eighth part (less?) of that ; (the
sum total of V) uJ] the loca ol ibe feet is Snngwfns in height.
I’ln' Jiei l should hr- 1 fli<■ i.■ iiiitjithis, * a height being four.
Thiia is llie measurement of a Hariisa. The measure
ments of ihe remaining best inhabitants of the earth are
to be inferred iiv uccerdaucv with irfliOu, by following this
direction, and consistent with their own (respective) mea
surements.
A Haibsa should he strong, with arms like the
king of serpents, with a moon-white complexion, with
sweet eves, with a beautiful face am] nice waist and
with swan-like movements. A Rhndra should be high-
soulcd, of the colour of the loins, with elephant-
like step, with a hairy forehead* with full-grown
and tuperingly round arms, A Mjftlavya is dark like
the kidney-beauwith u body very hcautLiul on Recount
ol the slender waist, with arms reaching up to I lie knees*
with l.»road shoulders, broad jaws and nose like that ol an
elephant l iri\, very prominent)* A Buchuka is said to he
a truthful, higli-souled, strong, and clever figure with a
conch-like neck and autumn-white complexion.7 A Siisukn
is said tube a clever (figure), reddish-dark and of a
slightly variegated colour wiih lull cheeks and weet eyes.
5, Part 111* Ch 37, Verses 1-17.
Mfnkapdcy m said : As then; are five types of men,

according to tin measurement of the various limbs and their
' (JF* Mini.- a ||utic.

UllCaÊO I LJ-l: 111 J IJ i3 W Ilk III F) IE) -l ll li) III ■■
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TliANSLATH >n
parts. so, (ob)p beat ul men, il must U; noted that the it are
live types of women, (lilt) lord of mtn, (each) woman
should ho placed near her man. Every one (of therm
should he made to reach 1 he shoulders of the man (mi her
side) in proportion. The waist of n woman should
he made 2 augu/as thinner tluni that of a man. The hip
(on the other hand) should \ie. made wider, (by adding)
1 dftg tilfts* 'J he I proast* should lie made, foil) king,
charming and proportionate in the measurement nT
the chest.
All kings should he (made) endowed wilh the marks
of maASpuruffhos anil all sovereign rulers should lie fmade)
wilh webbed hands and feel. And a circle of hair should
he drawn auspiciously between their eyebrows. ■ >n the
hands of kings should certainly l«: drawn three beautiful
auspicious lines slenderly curving and resembling I he
scratches (made) by a hare.
// The hair should he represented auspicious, fine,
resembling the deep blue sapphire, adorned b} its own
greasjness and with the undulation of that essential
requisite.1 * *{The
* different) chiase» of hair ore thy follow
ing: (1) kimtalfi, (loose) hair, (2) Uiiksinfiv^rta. curled
lowards the right, i-b Tarafigii (wavyi, Mi Siiiihukcsura
(mane-like), (5) \ "ardhara (parted), and (6) Jntatiisnrn
(matted).^
An eye should he of the form of a bow or (like)

the abdomen <d a lish, or like a petal of the blue lotus
(ulpnla), or of the white lotus (pudimi), :1 fifth, (oh)
groat king, is said to he of the form of :■ grindstone.9
An eye of the form of a how should belong In women-
1 lTtit ndgn in Uio irppflc of i-*l-j.i [iL rct|li julic, cj- Ftughuvi I. £9 iml
1 Tliret.' w*ird>* -iro dn'il ifc tUh,hi- j I 11 - “ nn -■ '£N • :3k - ■ r.a, j.r. yrind.
■IkAi-i liar*, ili i r. S.i:' .mil *117' Jn ml îr)J ur*y ied*s | »ln'i mit bf r^nl m l||
I I fcSVU C-LlH?*,
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m Tli \NSTATION
(m general). Au eye of 1 yanix (in width) is called

by the name of fitih-jihdiHjicn+ A blue-loins-petal-eye if*
.................. N> s;iid to I " <i j/iir'-ri-T and n red- or ivhitc-louiB-
Ikt-l:tI c\r is i] tfttnis in mcatum-menf. So nu eye of the
shape id st grindsluiie should lie Hi tjuros, Tlic measure
of a jftttti should hr calculated proportionate to
tlie mea&uiiMuezil of an tHKjnUi, which hits its own
Standard, •
'["hi* rii' assumes the shape of a hmv when looking at
Hie ground in meditation. (An eye) of the form of a
[i -11 - / l I m|i him-n : lii-ii ]* I he painted the rune) ol women
and }Q\i'Vs. \n c>c id the shape of the bhi£-k>tuR-petal is
slid to he ol tlie evtr-eaIm. An rye of the lotus-petal
mIahjm? helit* Hie frightened and trying, An eye of grind-
-(.Hiii shape i- in its place with the singly and woe-stricken.
Sngt'3. ancestors (i.r,. manes) and gods, (oh) lord of
men, should he njadr glowing and with ornaments
consist* in with their own otduur and outshining (Ut.
rohhing the splendour of others who are Lustrous),
(Oh i best uf kings, t hat is verily beautiful and
devoid of crooked lines (which Lb) done an aforesaid
with these measurements, suitable, unreproncliable, jn
: \ light i ,NJ1
tin in, within upproprinlc) surroundings Oil. Itxcrtl
grounds, fisrTHriT*T*H :) b\ the exertion ol (the artists)
mvii intellect, a Her he has carefully considered (every-
ihings.
6 Part 111, Ch. 38. Verses 1-28.
AIftrko^d‘‘VJi sjiid The cyr i become*) charming

(when it is) like the blue-lotus-petal (utpalapatritbha),
red at I he corners and with black pupils, smiling, gentle
intd ending in long cyo-lashe*. {uh) heat of men. The
hands of gnds, (uh) king, should be conducive to Hie
welfare of the people (i.e., represented in a benevolent
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TKAMR RATIOS’ iI
attit udcl. The eyes (should hi;) wide, ttitii black pupils,
adding beauty to the divine fare, beautiful Lo look ai,
charming to the mind, smiling uml with ends Iikthose
of hhir-lotus petals, wiih rye dashes bunt at the cndu, of
cepi al size, gentle and fwith the white) of ihn colour of
cow's milk.
The face beautiful alt over should lie fully developed :
(it should be) well Jinislied* benignant, marked will i all
the auspicious marka, not triangular snd not crooked.
One who wishes good to the people should discard (;i too
profuse employment of> large circles, triangles and other
(geometrical shapes) when representing gods. (Oh) perpe
tuatin' of the Yiuiu race, the gods should he represented
according to the Haiiis it-men sure. They should have
hairs on their cyu-iishes and eye-brows only; their hotly
(however) should be entirely devoid of baits. Those
who live in heaven have nlwnya smiling faces and
eyes, tuitl look like (youths) of the age of sixteen.
They should he drawn wearing suspicious strings
t>l . garlands and ornamented by crowns, earrings,
necklaces, brace lei 3, ornaments of the upper arm, long
girdles reaching up to the ornaments on the feetr and
sacred threads with ornaments lor the head. Their
shoulders should lie broad* (Oh) tiger among men, they
\ should he represented with hcnutifuE loin-cloth on the
left, reaching below the knee; the right knee {Jiuwwur)
should be shown. The linen scarf which the gods wear
round the upper pari of their Ijodj should (also) ho
executed beautifully* The halo should be drawn round
thtdr heads, proportionate in the measurement of die head
imd the colour of the halo-circle, (oh) great king,
should resemble the colour of the deity. In their itn«, an
up wind look, a dowaiwurd look mid also n sideward look
should In* discarded. The same applies to n tun *mnll( to ;i
lou big, to a depressed (looking), to Alt angry and to a harsh
6
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U Til ANSI. VTIi »N
ejt. If. in said that upward look causes death, dowr>*

ward look causes sorrow, sideward look causes loss ol
wealth, too small eyes cause death, too large eves cause
sorrow and so do the depressed (looking) eyes, (oh)
be si of hing^. A harsh look causes loss of wealth and
no angry look causes tear, (The image of -\ deity>
should not be done with either shrunk or in dated abdomen
or with wounds (on the body* oh) perpciuator of the
Yadu race* (It should not he) bent, of a rough colour,
with an open month, or with limbs short of or exceeding
(appropriate) measurement, <oh) descendant or the Vadim.
(Ji should not fall) short of or exceed (the prescribed)
measurement, (oh) ruler <>t the earth, A shrunk abdomen
is conductvc only to starvation and fear, and inflated abdo
men causes death, A I tody with wounds causes death, one
that is too shun brings about loss of wealth, one too
long creates sorrow, uud one with rough colour induces
fear. A halo in 1 lie east causes foss nf wealth, in
the south death, in iIn- west destruction of sons, and in
the north fear u.r.f it ought to be behind and round
the head). A nimbus short of measurement leads to
destruction and one ex feeding the appropriate measure
ment bespeaks ruin tn the country. A rough fimage) is
said to cause death and an angry mum destroys beauty.
Kvoii when (duly) invoked by the best af Brahmins, the
gods never enter images slunk ol (&i&tric) measurement ft
and devoid of the marks (lakshugas of divine form) :
(but) demons, ghosts and hobgoblins always enter into
them, and so a grcitl care should be taken to avoid shortness
of measurements. (An image) possessed of all the
beautiful murks i* said to he excellent from every point
ol view. It adds to wealth, crops* fame and the ienglh
of life, yet ............. levoid of <those) marks, it destroys
wealth and crops, (oh) beat of kings ; the gods always
should he made beautiful, having gaits (like one of the
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Tli VNSLATJi>N Vi
following) :uiimiiilx. (rian,) the lion, thu bull, the elephani

and tin- swan. lU^sseil is a work of art (endowed)
with all (the J$flKtrie) marks, (as il bring# lurk) to Hie
country, to the king and the maker, (and is jih the gods>
Long for it* An image, therefore, sin mid hr properly
I nude b) :i LI men with great rare, (endowed) with all (the
S&stric) marks.
7. Part 11E + Ch. 39. Verses i-32*
There are nine positions of variegated colours, with

auspicious forma and gestures. Please listen to (allot)
them in due order* The first should 1>e the straight posi
tion (Hi. derived from the straight, rjvugata, );
the second is the nonfat might (atirju, ); then
with a bent body (sflcblkrtusnrlraL, tr i. Th-n
comes ((he position) with one eye (hf, with half eyes.
urrihaviLochmui, ; after that ctime- the side*
view {Hi. derived from the side, pdr'wfigata, Ern^^T?**.
Then comes the if cheek-turned 1 + position (paravrtta,
qi.r^rT)L: then the hack view, {/it. derived from the back,
prsthiiguiu, ; and i finally) (he + i turned
round ' position (pnrivrttn, nfr^rT ■ : ;iml then > 13o■
one whmb i.s) thoroughly binding (sumfuiutu, ttwtH?!
rii piimting (bhfishite) these positions with mum
transitions (lit, distinctions) (from oiw Nj the other» me
nine UUogother) ; now, (oh) king, hear from rue, one by
one, (what is) the nature of each nt them (and how) it
comes into existence*
(1) The pre-eminent position amongst those (mentioned*
in the beginning tut our enumeration) baa a beautiful
' TfaamtLan Pur*vfti»r J oogjul1* ifjp Tor I'^nUnni. <7- yfftrt

* 'CJjn iflTL ]jLm I'urntiich niuvl b* ctuii^tJ Jo iVmvrUa* C’J* *4.
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II TJ! VNHT.ATlnN
appearance 1 which is duo to a (static) pnsUiiT called rjii.

In ihiss way ii is accompanied by tlie various organa
of -sense ■ A very flensing body, well finished nod
accompanied by distinct qualities of measurement
u.*\, well proportioned)* very line (in execution) mid
tdmded with ornamental display of light and shuck*, rates
the spectator ; very pure* charming and adorned by
maid fold fines and embellishments, 1 he portions on the
back s lion Id he without foreshortening (tit. diminished
limbsl.' The front view* face* cheat and abdomen should
also remain im foreshortened (undimmished). (The figures),
toll) intelligent one, grow narrower (tit. have attained
thinness), towards the waist from the thighs (as well) as
from the shoulders. rrheir noae-wings and lips appear
foreshortened by a fourth part of their width {tit, a fourili
pari ot nose wings and lips has been reduced to decay)
and their limbs are foreshortened by :i third part (of their
breadth)/
What (looks)* charming, due to the attainment
of a curved posture (tiryak), well rounded, tender* all over
(tit, all the four parts being) slender and conducive
to itbe beauty of all the limbs) is called, oh king, bent,
on account of imitating ilie sky. ■ fts characteristics
:<rc:) Half of the eyes and of the forehead and also
of the nose are shown. The eye that represents the half
that remains after division uc, tlir one eye that is to be
-veil in profiler is foreshortened (tit. suppressed 1 iiy artistic
means and the eyebrow in ako artistically suppressed (r\t\,
foreshortened) and is painted with gentle lines. The face
i* neither straight nor irritating, neither Hack nor ahmly,
n■ "I nf L4hl4 MS|I,,1HI. ILJjj-t.. ILl|iiHj.
M,r.. in tfe. « ^P-i ,Lfl.p- WJI, „„
finblCp - ^
* Uio Hif(i ifdEjhlij ht, qilihl itTiijjhl.
* Tb««to4d n,1l3 +&ri(1 ■ „ D(rt dluaibc4. lK ta 1ha nhjfllB of |bp fir-5
OM<
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TUANfcT.ATJf iN IN
( 0 The next position is called ** udhyimlhfiksha "

». sa . ' nrdhut iiochaua ' uvith uno I'vci. Tin
signs arc us follows und have a specific ohuraster: Mae
eye ill the face of tlir figure is shown (in fuMj, hull of 1 he
eyebrows in suppressed (U., one eyebrow is nul to be
seen). The forehead and One eyebrow are visible {tit. the
only essential part of the rest of the face [that is] ti> be
sfL‘11 is the curve of tin fuliiltciid in li ill il n nnJ Ate and
the curve of the eyebrow) The ne\i visible pint is half
of the cheek from one side only, while the other half is
invisible (lit. suppressed). Half of flic usual length (tit.
measure) id the lines on the throat and a ytiva only of the
eliin are shown1. The navel, one iiitgtda less tl an the
opening of Uiu muulli, and three quarters i/rf„ hail tim] half
of that half) of the waist and other (parts) should be
shown.
(5) Thai position occasionally is called ' ehhfiyfigatn
be., coining out of the shade , whose side is seen,
either the light or the lelt. whose Jinlbs :irid movements
enter into quite a new (UL differentj cons tel la £ ion, of
whom one eye only, one eyebrow, our temple, one ear and
half oi the chin and I he liair should le (shown) and
which is possessed ul qualities like sweetness, grace, and
proper prupurLion. It is (also) called " derived from the
sulc " (parsvagjitji, UT'fffrm). If si.....Id also I r called hL-.--
the wall ? {bhittiku,
((») This position! is said to be +* turned back by tin
cheek"1 (.gniiduparuvrun, ■ whose b mbs are not
very sharply (delineated); it him appropriate measurement
in (proper) place ami has attained kf/nja (diminution)
called " dark ' in forehead, chock and arm and also in
ibc ibruat, I best* parts arc vaguely d Lsrcrnible, i-
they uro fj mg in (fir shade)—nvhich art isticullj
foreshortened ittf, made slender)' and Inuks lender.
■ UiaJ h>mu-jlI ij[ KAlBkahfpe. KftltkfMge ^rtuli- j||j ■ ktuli-r).

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it) Ti; \Nsf,ATJi
i7i In pictures and wall paintings, (ihut) is traditional]v

called ‘4 derived from the hack (prslUngflta.) which
reveals n bodily frame attractive towards tbe back, with
muscles nnd joints like those ol Siva (Sarvajitel with a
im tuoiiri frown, very calm and pleasing to the cvc. < hie
side only is seen; the chest, {one} cheek and tlie outer
corner of the eye are only faintly shown. It is possessed
of qualities like sweetness (mftdkurys) and grace (la vanya)
ami hns {its appropriate) measurement.
isf (A ligure) whose upper part of ihe body ahouJd he
turning hack and only linIt to br seen on account oi its
reversed position with a face hunted by envy, whose
upper and lower portions of the body should be somewhat
lost in shade towards the front, (while) the (lower) half (of
the luidy) should be like that of a rustic, w hose middle
(is drawn) properly foreshortened and agreeable to the eye,
should t>c known us '* turned round " (parivrUa) and
should be represented for (the purpose of) upholding (?),
(oh) lord of meti.
p>i But what is drawn with the buttocks in full view,
with the soles of the feet joined, with half of the body
faintly seen from above, witli the pari about the entire
waist shown* with ihe two entire soles shown, with fore
shortened lower part oi the toes, beautiful all round, well
finished, not terrible-looking, witli nr mu visible mid head
and trunk well joined, and hunt down towards the
legs {lit, suppressed towards n part of the k gs) (is known)
by the name ol Saiurlnata (thoroughly bending)./
8 Part IN, Ch 39 r Versts 34*51,

^Theae positions should ho drawn with [-are (arcam*
paujcdi, by (jualitics like luttnn (proportionate measure-
Jiienl. etc.), (Uh) blameless one, those nine positions
ure scon in all conditions. There is nutie besides mid
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TR VMrtr-ATTON 17
superior to these, 1 who hiiw always moved around the*

world* inhabited by creatures moveable tmd immoveable*
(oh) sinless one* narrated in entirety the group or
three, i.c., k$ayu (dcomn&c), t-puMhi (im-rease) and
pramitv*j (proportionate measurement), (These again are)
of two kinds rhit r*t (simple) and ridiitni ( variegated i ;
(the latter) again is oi three kind* according lo the good
result ' (obtained by) proportionate measure, \ikcther it
lie utttnna (full', mottltymtia imiddling' and mUtautti (small).
Now I stud I relate tn you by degrees ihc rule (to be*
observed) in kstutu and crddlu (decrease and increase).
This pfdtlhi as* well ay knfwjtt (being) without any (fitfieri'
name known to the painters, and having (their) origin in
the body and ith various Limbs, said succinctl} to boot
thirteen varieties (here) and (varies) otherwise according
to the man! fold ness of the positions <ib/r of manifesta
tion), (The thirteen positions are1:1 visible from
the hack (pr?thiigata) and belonging to ihe straight
(rjv&gatu), then " half and half" lurdhardhu jt " quartered
middle" (madhyftrdha) and the " bent face " fsiwhi-
krtamukha)* "bent" (nata), "turned hank by the
cheek '1 tgapdapai’avrtLai, and 41 derived from the hack
(prsihagaUi k Then should Lie known the position
"derived from the side1 (p&rsvagutn), as also " painted
> us going upwards" (ullepu), and '‘moving" (chnlitn>

and lastly " with the fact upwards " (utlnn-i) and
**turned round (bulitaK (Oh) king, all these posi*
turns are e[early indicated ltit. should l>c known) 1 i-y their
names. Herein the positions of the feet (are varied) by
a series of motions like prfttytrljtfhfi (i c.r with the left
knee advanced ami the right knee retractedi, ruimkhtt.
{i.c., with feel a span apart), The legs again arc straight
or half straight, standing or moving. The positions of
1 't'lm llntfltftn (1,1 + H......... Uft 111 aMt I [Hil limn. Tim Iml nil L-|gli[li pHlt ItIi
■Hr liU'iili'iml,
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te vu \N+sr vptox
the straight ; 1 ri<I unu-st might legs should he of two

kinds. Thus the position elm rue tensed by tegs standing is
traditionally called samoptutn (straight-leg), (white) the
second i type) sill mid be tnuttf/ula (in circular motion).
Other positional ilian l lies e are with (‘lie leg straight, varied
and unsteady. Among these arc t'tii&nkhii (the feet being
n vpan aipruii. "ti ffin (the right knee advanced and the
N It rrtrn ted1, .aid pintifnli Um i r he left knee advanced,
the right one retracted, those being (typical) positions
of ihe bowmen), Uneven motion in curves characterises
the sword and shield carriers. Persons currying a
pike, a s[>cui\ (with bamboo handle) a stone javelin, a
sting and other instruments walk with difficulty and
with one leg in fitjr/lm position. (Persons) who carry a
wheel, ■< sfir.n, a club and a (steel) javelin walk (in
a sold of* gallop. The llighi (titr running away) of stout
men is in some cases depicted with one leg in a straight
position and with ihe other (placed inr such a way thnt> the
w.iMimi body should be (shown) with the neck stretched
forward. The learned painter should ptiinl a female figure
with one foot calmly advanced, with the part about the
hi] - and loins broad and flurried, on account of amorous
dalliance A figure devoid of pmnt&tjM (proportionate
measure) is bound to sniffer in the opinion of the passing
ages md llieir i\ irying) tnsle inclinations Pit. through
the force oI time mid sentiment). Having this in mind,
proportionate measurement should he employed by a
learned artist with (the help of) his own intellect, in
iilvison with lmt*i}f*i and r
9. Part 111, Ch. 40, Verses 1-30.
Brick powder of three kinds has to bo mixed with

day. one third pari mi uinuum ol the brick powder).
Having mined saffron with oil, (one) should mix {fit, place)
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translation 40
(with it) yliin refill, been' was, liquorice, molasses and

mudgti 1 preparation in equal partu, One third part of
burnt yellow-inyrobalnn should bt added therein Finally
the astripgont ni:tde of the BcJ-tm (/VffoNia drphititiifu\
destructive (of all injurious agents) mixed m pro
portion of two to one should lie added l>> aft intelligent
artist and also a purl mil of saitd, proportionate to the
amount of the whole. Tljpn the artist should drench (this
mixture) with moist split pulse dissolved in water.
The whole of this moist preparation has to be kept in a
safe place For one month only, (After) the moisture han
evaporated within a month, a skilful (artist) should pul
(this) dried (yet still damp) plaster on the wall* having
carefully considered (everything). It should he plain,
evert, well distributed, without ridges or fades, neither
too thick nor too thin-. Should it (look) ill done after
Laving heroine finite) dry (due u> shrinkage), then it
ought to be carefully smoothed by coatings of plater
(made) uJ that clay (eis mentioned before! mixed with
resin of the £;"da-lm (Shnrm r^husta) ;iisd with oil, tft
is further made) smooth by (repeated) anointing, constant
sprinkling with water and by careful polish, (Oh) lord,
when this wall has jmmiplly dried, it does not go to ruins
anywhere even at ihe end of a hundred years.
By till* mean* various jewelled floors can be made of
variegated mixture in twofold colours. Tn painting with
care oiv a wall* dry, brilliant ami smooth, an artist
devoted in the muster, should begin bis work oil an
auspicious day* with his face towards east* thinking of
God, having worshipped and bowed down to Brahmins ami
preceptors who know this u.r., painting) well* uttering
Srasti (Success !), dad in a while garment and restrained
m his soul. Then the learned artist should draw (nutlines)
.Ifur'U.j I1il>h| pmlilliif ti! r
■ PJiaifu/m Jflinijfji,
Cft £ ■ I p u r*l r* a k Clu. U1,.

7
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TRANSLATION'
with utioozing black and white brushes in due order and

lix them oit the duly measured ground* These then
should he filled with colours iu appropriate places*
Green as well as white is the colour in general (applied
us first coaling ?k (One) should show that (very clearly).
The characteristic of that (j.c*, of the colours) (already)
has been described in detail (Oh. verses V-26).
l*rim ary colours are said 10 1^- five: while, yellow, the
colour of the myrobalnu, black nml blue. (Ob) bent pf
kings, intermediate (colours) arc traditionally said to be
hundred-fold. (But an artist) should mix (lit, divide)
the primary (fit. full) colours according to his own
logic aiid imagination and make thousandfold (what is
hundredfold). If the blues are transformed « groat deal,
green colour is produced. It is cither pure, with an
admixture of white or blue-predominating. One or more
(of these shades1 are fused) ns it is suitable to the (special)
painting. Blue, (ton,) is of three kinds : with white
predominating, with very little white or with both in
equal parts* Thus it is variously transformed by being
connected with anything applied us an astringent.
Thus beautiful (Hi. auspicious) paintings should he made
yellowish like the Diirvcl sprouts, green like the wood
apple and dark like the kidney-bean. Blue tinged with
yellowish-white (becomes) changed in colour and of
various kinds according as either of the two (constituents)
is (present,) in greater or sip a her degree or in equal parts.
Bur that reason the blue-lotus-colour (mltitpalatiibha)
appears beautiful when partly shaded dark like the
mdse. proper selection and distribution of colours
paintings become delightful. A painting in red and
dark like the red lotus (rakt&tpnlu) become* beautiful
when combined with white lac, covered by a coating of
lac and resin* The latter also transforms various other
colours.
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TRAN LATION 51
(Oh) king, colouring art-idea arc gold, silver, copper,

mica, jfefep coloured bnias, red load. Lira, yellow orpiiuent,
yellow myrobalan-, lac, vermilUott and indigo, oh
heal of men. There are many other similar colouring
substances, oh great king, in every country ; they should
be prepared with an astringent. A fluid should be made
of iron leaves. A mica defile placed in iron should serve
as a distiller. In this \\i\y iron becomes suitable for
painting. In the (work called) Surascndraldsumija a
decoction of hides was said to be a distiller of mica.
............ hi the ease of all colours, the exudation of Hie
Sitidwfa Lice is desirable. A painting, firmly drawn with
a magnificent hairy brush (lit. tail) on a canvas dipped
in lhe juice (if the best Dutch grass cannot be (destroyed
and remains (intactI fur many years though washed hy
w&ter.
10* Part III, Ch. 41. Verses 1-15.

^Mnrkaudeya said; Painting is said to be of four
kinds:—(1) " true lo life " (satya), (J) " of the bite
player " (vaiijikai, (3) "of the city 11 or" of common
man '* (nugara) and (4) "mixed (misra). 1 am going lo
apeak about their cliaractoristics (now)/' ’Whatever painting
bears a resemblance to this earth, with proper proportion,
tali in height, with a nice body, round and beautiful is
called “ true to life/' That is called tutittika which
is rich in the display of postures, maintaining strict
proportions! placed in an exactly square field, not
phlegmatic, not (veryIlong and well finished. That
painting should he known as nfiftnrti, which is round,
with firm and well developed limbs* with scanty
garlands and ornaments, (idii boat of meir. the miira
derives its name from being composed (of the three
categories).
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52 TRANSLATION
Methods of producing light and shade nre said to Ihj

three
{]) Crossing lines (lit. iires tit the form of leaves*
pat raj a}, (2) by stumping (airika), and (3> by dots (vinduja).
The first method (of shading) is called (patraja) on
account of lines in the shoi>e of leaves. The aitiku
method is culled so because it is said to he very fine. The
tindnja method is called so from the restrained (i.e.,
not flowing) handling of the brush.
Indistinct, uneven and inarticulate delineation,
representation of tlie human figure with lips (too) thick,
eyes and testicles (tin’) bigt and unrestrained {in its move
ments and actions)—such are the defects of thitru
(pictorial art). Sweetness, variety, spaciousness of (hack)
ground (bhOlomba), proportionate to tlie position (atliana)
(of the figure), similarly (to what is seen in nature),
(and) minute execution are mentioned to he the (good)
qualities of chitru. (Oh) best ol men, in works of
chitra, delineation, shading, ornamental ion and colouring
should be known as decorative ii.e.t as the elements oT
visualisation). [he musters praise the fkhtis (delinea
tion and articulation of forms), the connoisseurs praise
the display of light and shade, women like the dis
play of ornaments, the rest of the public like rich
ness of colours. Considering this, f^reat care should be
taken in the work of chitra» so that, (oh) best of men,
it may be appreciated by every one. Bad seat, thirst,
in attentiveness, and bad conduct are the root evils h in the
painter) that destroy painting. In a work pi painting, the
ground should he well chosent well covered, very delight
ful, pleasant in every direction and its surface \lit. spate)
should be well coated (tit. anointed). A painting
should be then very bg&utifu], when a learned (artist)
paint6 it with golden colour, with articulate and yet
CENTRAL LIBRARY
translation 53
very soft linen, with distinct and well arranged garments,

and lust I \ net devoid of the beauty of (proportionatc^
measurements
11, Part III, Ch, 42, Verses 1-84
M&rkai.ujeya said : king (ruler oj the.... rth) is to be

depicted just like a god In the cu^r of kings (however)t
the hair on the body should he drawn one by one. Sages j
guintIwrnot, dtiihjus, tUtnura^ ministers, the brahmins tin
general), Surhvui sura Siva), and (he family priest
(purobita) should have the si&e of » Bhudra, (oli) lord
of men. Sages should he represented with long tresses
of lintr clustered on the top of their head, with a black
antelope-skin us uppci garment* emaciated, yet full of
splendour. The gads and guml hurras should he represented
without crowns but with crusts* (ob, great king). Brahmins
should ln_> represented with white garments and emitting
divine splendour, (oh) great king. An artist should dnm
ministers, Suihvatsara, and the fun lily priest adorned with
all ornaments and diadems. Du Hi? nv and th'inum* should
have frightening mouths, frowning faces, round eyes and
(one) should represent them with gaudy garments though
without crowng *>li lord ol the earth, their dress should he
of the utidhtila (haughty) style. tOh) king, Vidyiidharas
should be of the size of u 4 4 Hu dra " with garlands and
ornaments and accompanied by their wives. They should
be shown either on land or in the air and with swords in
their hands. Ajn Hu ru*, r^kuhtinttJn and niigas should be ol
tlie aiê of a MtvIaYvn.1' (« do lord of men, yaL^m
(should have) the size of a ” Rucliuka,1' (The artist)
should represent the eldtd amongst men with the siKe of a
SasLiku lhsjtdias* dwarfs, ...... ch-backcd men, pmumthas
and (those) who enjo\ the earth, should be represented
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tn \ntslation
consistent with the rules of (proportionate) measurement,
and in accordance with the rutet; oT rUpti (creative form).
The females an? traditionally an id to be suited to iho
measure (of the male type)- h innara* are said to be of two
kinds, isonic.) with human Faces and horse-bodies, and
others again are said to be with horse-faces mid human
bodies. Those with horse-faces should be decorated with
alf ornaments, with splendour and musical instruments.
Rakshasax should look terrible with the hair erect and
bewildered eyes. The tuiyna should be fashioned in the
shape of the gods (with the difference that) they should
wear snake-hoods. All yukfas are said to he decorated
with ornaments and they have been dealt with by me
(already>. No special measure is fixed lor the pratnaihau
among the auras (gods) nor for the itU&chas, Capas
among the gods should have the faces of various creatures
and should wear various sorts of drosses and weapons,
engaged in various pastimes ami sport*, toh) greet king.
But the of \ ishijn should all have the same outward
appearance, and ^till there should be made four divisions
id thinu. Tlic tjunux of Vasudevn should he represented
shining and similar to Vnsudeva, 'I'lie yanas of Solfitkar-
shana, Prndyumnn and Aniruddlui again are similar to each
of them and carry the weapon (of the special manifestation
id Vishnu) and bis expression. Prostitute woman should
have the size of a ** Ruchaka.th (They should l>e painted)
with veimillion nr emerald colour, moon-white (in com
plexion) nr dark like the petals of the blue lotus. The
dress of prostitutes should be unrestrained (udrih&U),
calculated to excite erotic feeling. Women of good
family should be medo bashful and oT the size of a
11 Mitluvya " wearing ortinmciiU and not vi>n nlmw> djestiCH.
The wivcK and mot hers ol tlaihjus, dAmrras, yakitis and
rakahasos ought to ho according to t\w rules (laid down for
lheir men). I Ijc same holds good lor the wives of pi&arhas.
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TTtANSIJATJON 5fi
Widows are to be shown with grey < Ilfiit) wearing white

clothes and devoid of all ornament*- A hunch-backed.
ji dwarfish and nti old woman also should he (rpjjrejtenleijl)
iti (their) natural condition. Amongst st boat of royaj
wives rtn old chamberlain shindd l>r represented.
A tmiAija should be of the size t>r a 44 Buchukn ,f and
:t Audra ol the size of a Siiiaka, (Oh) ford of men, these
two should (have) dresses suitable to their caste. Wives of
ffoihjafi should always have attendant women. By one
who knows painting, the commander of an army should
lie represented as strong, proud, tall, with fleshy
shoulders, hand and neck, with hig head, powerful chest,
prominent nose and broad chin, with eyes raided up to
wards the sky, and with lirm hips. (Oh) groat king,
soldiers should generally be- painted with frowns on their
hicep, Foot-soldiers should he represented with short and
showy uniforms; they should have arrogant looks and
carry weapons. Swordsmen and shield men should he of
the Kurnataka type. Good archers and bowmen should
have hare legs. Their dress should nof he very short
and they should wear shoes. Elephants, horses and such
other animals should be possessed of the- marks described.
Elephant-riders should have ;i swarthy complexion, their
hair should be tied in a knot, they should wear ornaments
as well. The uniform of the cavalry should he of the
northern type. Bards should have a resplendent dress,
their look should be directed upward and the veins on
their neck should he shown. Heralds should be drawn
tawny and S(|uint^yodt slightly resembling (lie thinavax,
and as a rule, carrying staffs in their hands, fn fi^ht
(mu-) should not represent the s<piiut-eve<I and the tawny
(heralds)< The doorkeeper is known by the sword hang
ing by bis side. He hoi da a staff in his hand, does not
look very mild and his dross is not too conspicuous. Mer
chants should bo represented with their heads covered oil
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56 TRANSLATION
nil sides by turbans, Musicians, dancers and those who

can vorreclly regulate the stumd of musical instruments
should wiMf a gorgeous tiros?, (oil) best of men. The
moat n->|n'f[:ii>]*■ people of country ami town should be
painted Milh almost grey hair, adorned with ornaments
sellable tt> (heir rank. wearing white garments, stooping
forwards, ready to help rind withn mien roliu by nalurc.
Artisans should be represented eager in ciie pursuit fit
their respective emits. Wrestlers should iie drawn with
broad shoulders fleshy limbs, thick neck, head and lips,
with closely rrupped hair, arrogant and impetuous. Bulls,
lion* and other animals should bp represented in appro
priate surroundings us they are seen in nature, (oh) lord
of mt-nL I have Litherto given the full description of the
appearance of objects not (usually) seen. Things that
usually are visible to all, should be well represented resem
bling (what i* seen in nature). The chief (aim) of paint
ing is to produce an exact likeness. Men should he paint
ed according to their country; their colour, dress ami
(general) appearance should be well observed. Having
carefully ascertained the country, employment and place
(of occupation) and the work (a man is engaged in), seat,
bed, conveyance and dress should be drawn (correspond
ingly), (oh) lord of men.
Rivers should hr represented in human form, with
iheir conveyances (viihanHs). Their knees should he bent
and their bauds should hold lull pitchers* (Oh) beet of
men. in representing mountains an artist- should show I lie
peak mi rbe head ml the personification). The representa
tion of islands makes the earth lieautifuL (Oh) best of
men, seas should be drawn with hands carrying jcwel-
vefcselK, and Uhe artist) should depict water in the place of
the halo and further he should partially show the signs
of weapons on their heads. When representing a tank,
(the a:listi should show a pitcher hth! when representing
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TRANSLATION 57
n conch-shell, (he shall show) a conch-she 11, (Oh) boat of
kings, of a lotus, a lotus (should he depicted), and of all
other things representations (should he drawn) resembling
(uliat is ween in nature). Every part of the object to be
represented should agree with the genera! treatment of
the whole object. Of divine beings an artist should show
as a distinctive mark, the rosary and the book.
Now 1 aril going to sycak about the appearance of
tilings actually seen. A learned (artist) should show the
sky without any special colour and full of birds, (oh> king,
Similarly (the artist) should show the firmament adorned
by stars and the earth with its vegetation in all its variety
(tit, with all its distinctive attributes), (Oh) best of
kingst (an artist) should show a mountain by a cluster t*J
rocks, [leaks, (with) metal (-vein) trees, waterfalls and
snakes. A learned (artist) should sljjow a forest 1>> various
sorts of trees, birds and beasts5 (Tie should show) water
In innumerable fishes ami tortoises, by lotuses and other
aquatic animals and plants* A learned (artist i should
show a city by beautiful temples, palaces, shops, houses
and lovely royal loads. An artist should show a village
by its Ison Hilaries containing sparingly gardens. Fortresses
should lie shown with battlements, ramparts, high mounts
and entrances in their enclosures. Markets should he
shown containing articles of merchandise; drinking places
should be represented full of men engaged in drinking,
and those engaged in gambling should be drawn devoid
of upper garments,—-the winners merry and the losers full
of grief* The battlefield has to be shown as containing
four divisions of the artuyri.e,, elephant corps, cavalry,
chariot corps ami infantry), with soldiers engaged in
fighting, strewn with corpses and besmeared with blood,
The burning ground should be represented with funeral
piles and dead bodies, (A painter) should represent a road,
with caravans consisting of camel* anil other (animals)
8
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58 n; VNSLATIUN
carrying burdens. The night should lie shown with

moon, planets nnd rfars, with approaching thieves and
men (fust) asleep and others engaged in worldly pleasures
(lit. showing wliat is of the world). In the first part of
the night women ;m? to be shown going out to meet their
lovers. The (breaking of the) down is to be shown by
the rising sim. the lamps (looking) dim and crowing cocks*
or a man should lx? drawn fn* il ready For work. The
evening is to be shown by its red glow and by Brahmins
engaged in control ling their senses. The (setting in)
ol darkne.SK Inis to he ^liown hy men approaching lheir
idiocies. That the moon is shining should he shown by
the kumuda flower in full bloom, while the many petals
of tin- lotus flower should he closed. When depicting a
shower of rain, (that it is) raining should be shown by ft
man well covered- That the sun is shining should he
showri hy (drawing* Creatures suffering from heat. (An
artist1 should represent spring with merry men and women*
by laughing vernal irees. with bees swarming about
and cuckoos
The summer has to be shown with dried pools* with
languid men, with deer seeking the shade of trees, and
buffaloes burying thorn selves in mud. An artist should
sltow the rainy season by flashes of lightning, beautified
hy rainbows, accompanied by heavily laden clouds, birds
perched on trees, ami lions and tigers sheltered in eaves.
A painter should paint the autumn with trees heavy with
fruits, the earth (coveredI with ripe t-nnU-fit-ids) and with
tanks l jean tilled by lotuses and swans* The " dewy TI
season (homanta, the approach ol winter), a learned artist
should show by frost on the with Lhc earth lopped
inf In i crops) and the ground covered by dew-drops. A
learned (painter) should paint the winter with the horizon
shrouded in Iiojir-froû with shivering men ami delighted
crows and elephant.
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THANHbATK in 5U
(Oh) lord of men, seasons should hr repn seated by trees

in flowers slih! fruits and creatures delighted fur otherwise)
and looking at nature. Sentiment a ami expressions
should be represented sis already spoken of. (An artist)
should a!&n suitably employ herein what was said about
da lining.1 A painting in which an object devoid of
shading (vart taint} is called A mediocre' (madhyama),
A picture which in some*pai*t^ i- shaded and in othera
remains without shading is 1 bad (adhiitna), A picture
shaded all over is ' good L (uttama). <A painting in which
everything is drawn in an acceptable (form) in it^ proper
position* in its proper time and age, becomes excellent,
while in the opposite cane it becomes (quite) different. A
painting drawn with care, pleasing to the eye, thought
out with supreme intelligence and remarkable by its exe
cution, beauty, charm (lit. amorous pastime), taste, and such
other qualities yields the desired pleasure.
11. Part III* Ch. 43, Verses 1-39.

Mfirkat?dcva said : The senlunenta b'asa) represented
in painting are said to be nine, viz>t inuj&ru (erotic)*
hasya (laugh-exciting), karnruj (pathetic), tlm (heroic),
ruutlra (furious), t/hatftiruikft (fearful), vlbhatsa (loath
some), adhiutttx (strauge and supernatural) and frnUa
(peaceful),
That which showri beauty and nicely of delineation of
form, and dress and ornaments according to the taste of
the learned, becomes the srfignro rasa. Whatever is
dwarf-like, hunch-luicked, or otherwise deformed in ap
pearance, with unnecessary shortnesw of hands, should be
laugh-cxciting in sentiment. (A painter) slum Id depict
in the ''pathetic sentiment'' what is pity-exciting in ad
versity, sale, abandonment, separation, mendicancy and
[:i BlluUlfr ■ lu|'C' r pi il'f \ iHlLyt. E

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GO TUANSLATH >X
such other circumstances, Harshness, anger, slaughter—

these things befit (lie raudni in which thorn should
be flashing weapons and bright urn amen 1Display of
prowess arising out of a. firm determination, coupled with
ilu* look oT nobleness, with perhaps a smile mi the lips,
and a plight frown appertains to the "hemic." Wicked,
hnrd-kxihing and almost mud vindictiveness, bent an kill
ing appertain*, to ilm fearful rasa ol jointing. That
painting (which depicts) a terrible position a scene
of execution) and (is) loathsome on account of the (re
presentation of the) cremation ground, should be the best
of all paintings in (showing) the rihhut$a sentiment.
Whenever (a painting) depicts* (tit, show*) thought and
.■ -bjlit horripilation and tin submissive face of T&rkshyn
and other (similar figures), it is indicative of the adhhttta
sentiment. Whatever is shown benign in appearance,
in meditation, and in jiosturt's and seats suited to the same,
full of ascetic people, appertains to the idnta rasa.
Picture* to * in hellish homos should belong to Af*ttgaTtir
fc^jpr and i«nfn msns. 'The re*i should never be used
(in the house) of anyone, (But) in the place of a ruler
and in the temple of n god all the sentiments may be re
presented, i Vet these representations) should mil lie made
in the residential quarters of the ruler. They should
be painted in that |parl of the palace of kings which is
occupied by the assembly bouses. Kxcopt in assembly
(hall > of kings and in the temples, the inauspicious,
e.y,, bulls with horns (immersed) in the sea, and
(men) with their linnd^ ^Ticking out of) the sea (whilst
thviii body is bent (under water), men with ugly features,
or those inflicted by sorrow due to death and pity, war and
the burning ground, should never be ch pit led. d >b) great
king. \ idyatlhnras, the ni no-gems,1 sages* < iarutjn, Harm m An
Tin- him jfi ID- of Kuvrr#, i r.„ I'ntmn, M*Hi 11 ilh![|],,, a*I-kJ,□ ,
K*cbcbfatv*> MijLijriiO, Kutida, Min. lcl<| Klitrfi.
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TILVN STATION (31

hI II r 3 all 11 J
,IOBO who are celebrated us auspicious on the
earth, should always 1* painted in the residential houses
of men. (Uh) king, in one's own bouse the work of paint
ing should not be dr me by oneself.
Weakness or thickness of delineation, want of uriicuta-
tiirn, improper juxtaposition of colours are said to he defects
of painting. (Proper position, proportion and spacing +
gracefulness and articulation, resemblance, decrease and
increase foreshortening)—these are known as the
eight [gooili qualities of painting. f’aiintmg which ha*
not (the proper) ]*>aiiioi], devoid ol Ulu appropriate' ru.m,
empty to look at, hazy with darkness and devoid of life-
niovctneni (c beta nil)-—is said to be inexpressive. One that
seems as if dancing hy its posture or appears to look
frightened, laughing or graceful, thereby appears if
endowed with life, as if breathing. These pictures are
(considered) of an auspicious type. (A painter') should
make his (painting) to he without darkness and emptiness.
No (painting depicting si) figure with defective limbs,
covered all over with hair, overwhelmed with fear due to
internal disease, or smeared with a yellow pigment (ought
to be executed). An intelligent arti&t paints what look>
probable (lit. what commands trustb but never what tran
scends it. (Ohi lord of men. a painting <byi the 'killed,
the righteous and those (who are) versed m the ftastrap
brings on prosperity and removes adversity very soon.
A painting cleanses ntid curbs anxiety, augments future
good, causes unequal led and pure delight, kills the e*d>
of bad (beams and pleases the household deity. The
place where a picture is firmly placed doo^ not look
empty.
Ho who paints waves, flames, smoke and streamers
fluttering in tile air according i<> the movement id the
wind should be considered a great painter. He knows
rJiifm who makes* one portion i-f the IkxIj lower than the
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Vr2 TUANS! .ATii >N
other,1 who (represents) (he dead devoid of life-movement

and the sleeping possessed of it, Jn painting (one) ehoftlid
carefully avoid, in the cast’ of all these, placing one (figure)
in front ol another. Jn every case (their) regular suc
cession is praiseworthy.
Oh lord uf men, the same rules as applied to painting
also refer to carving in iron, gold, silver, copper and other
metals, and also ito) images mu£& of iron, stone and wood.
! he same rules that are valid tor painting are also applied
to chtv-modelling- It is said to I >e of two kinds; glaum
and ttit&hira, massive and hollow. Iron, stone, wood and
Hay may be worked massively; skin, brass and iron may
he worked hollow, (hi the latter case) a thick superi im
position of clay bus to he given to the skin and the paint
ing has to he executed on it as on a canvas^
fn this treatise only suggestions are given, fob king),
For (the subject) can never he described in detail even
in many hundred years. Whatever has not been said
here, should he inferred from (the rules of) dancing, (oh)
lord of the earth ; whatever is not noted in (the rules of)
dancing should not be made use of here (either), (though)
it be interesting, (oh) lord of men.
Painting is the best of all arts, conducive to dharma,
and emancipation. It is very auspicious when placed in
h hoitsc. As Sumeru in the best of mountains, Gartida,
tht chief of birds, and a lord of the earth, the most exalted
amongst men* so is painting the best of all arts.
Jfert ends the translation of tin Chapters drilling with the

BuUs of Pointing. \
To tunftii tfar 3rd ilimunion.

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TRANSLATION—Continued
RULES OF IMAOE-MAKINO
CENTRAL LIBRARY
12, Part III. Ch. £4, Verses 1-21.
Vajra said : Oh sinless one, tell me how to make the

image of a deity, so that U|*r image made in accordance
with the Sastras may always be near.
M&rkamfcya said : Oh king, listen to me whil< l
relate {the process) of making the image of a deity. Oh
king, in the beginning I shall speak to you about the
atiijpicrous characteriStic of the image of Vishnu of three
forms and immeasurable prowess. His Bmhml form mani
fests itself in the rajas, which brings into existence every
thing and his Yuishnavl (form) should be known as belong
ing to salt} a, sustaining the universe, and then the Randra
(form) in temas-predominating, causing destruction.
A learned image-maker should make BrahmA four-
faced, on a lotus seat, clad in black antelope skin, capable
of being (easily) gratified, wearing matted hair, four-
armed, seated on a chariot of seven swans. In the right
hand (should be) the auspicious rosarv and in the left
the water pot. Oh king, tlie eye of that tranquil-looking
image, possessing all fSftatric) rihuracter*stirs and wearing
nil ornaments closed in meditation should resemble (he end
of the lotas petal. One should represent the god ns a
(regular) image or in a book.
Then (one) should make Vishnu, the god of gods,
seated on Garuda, with the bosom shining with the fta us
tuhha (jewel), wearing nil ornaments, resembling in colour
the water-laden cloud and (clothed) in a blue and beautiful
garment. Four faces should bo made and arms twice that.
The Eastern face is called Saumya (placid), the Southern
NSrasitfibiL (man-Lion), the Western Kapila and the
9 a*
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GG TRANSLATION
Northern \Tir5ha (boar-like). \ ishnu wears vanaynalti
(long garland of flowers), foul in his right hands (should be
shown) an arrow, n rosary, a club and so forth, and oh
great king, in his left hands should ho shown a skin., n
garment, and a bow.
Oh pious (king), now listen to the (description of the)
image of the how-carrier 0. e., Siva). (One) should re
present MahSdeva, the god of gods, seated on a bull and five
faces should be made for him, oh descendant of the Yadns,
all placid-looking, the Southern one (only) fierce, with a
garland of Stulls, destructive of the universe, all other
face*, except the Northern one with three eyes (each). On
the crest of matted locks (of the Northern face) the
crescent moon should W and the fifth face on the top of it.
As his sacred thread one should make Vfisuki (the serpent
king). Idahadeia, the god oi gods, should he represented
with ten arms. Oh strong-armed (king), in his right hands
should he h rosary, a trident, an arrow, a stall and a lotus.
In the left hands of the trident-bearer, the god of gods,
should be a citron, a bow, a mirror, n water-pot and a skin.
The colour of the whole (image) should resemble the rays
of the moon. *
Thus Las been described to you the image of JanSrdana
of ibrte forms. Now i narrate to you the nature of tile
lotus, oh king, on which the worship of gods should be
performed.
13* Part III, Ch, 43, Verses 1-8.
The lotus (may be) or gold, silver, copper or smiie other

material, two cubits (hnatoa) in measurement, with beauti
ful filament and divided into eight parts. The pericarp
should he round and raised by one-eighth part and clinging
to the petals. Round the pericarp, surcharged with round
Heeds, measuring a ijtwa only, there should be fifty-two
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TH A NEGATION <V7
petals. Verily, that should he made in width by the one-

sixteenth part (t.e., the distance betweenpericarp and petals
horizontally where the pericarp no longer dings to them
should he the 16th part of two hastas). The rest
one should fill up with eight very glossy petals
the miter circle or petals), Then its installation
should be made and on it one should worship the gods.
Thereon one should worship Bra limit. thereon
one should adore Hari Find Rudra ns well as Sri.
On it (again) one should worship Indra, the lord of
the world and king of the gods, and thereon one
should adore the suti and the moon. That god only and no
other should be worshipped on the lotus*, hy contemplating
whom in mind, it was set up.
Thus has been narrated to you the nature nf the
lotus., The whole of the earth is symbolised by the lotus.
And on it the gods should be worshipped ; being worship
ped on it, they become propitious.
14. Part III, Ch- 46, Verses 1-19.
Yajrasaid: By you the Supreme God (Punished has

been described as devoid of form, smell and rasa and desti
tute of sound and touch ; so bow ean this form be made of
him ?
Mrtrkandcya replied : Prakfti and Vikrti (come into
existence) through (the variatumiti) the form of the Supreme
Soul. That form of him which is scarcely to he seen was
called Prakrfi. The whole universe should be known as
the Viktti (transformation) of Him, endowed with form.
Worship and meditation (of the Supreme Being) are
possible (only when ETe is) endowed with form. The form
of the Supremo deity, as he manifests himself should he
worshipped according to rites. Because (lie invisible
condition is apprehended with great difficulty by the cor
poreal beings, by the Supreme Lord, through Fits own will
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68 TO ANSI. ATI ON
was shown that (form) and the gods (too) point out (that)
form (of Him) in His various manifestations. For this
reason God is worshipped endowed with form. That form
is fulJ of significance ; hear this from me ready to
speak.
Through (the preponderance of) rajas the colour is
reddish, hence Brahman, greeted by all creatures and the
beat of the goda should be known as resembling that tip of
the lotus. Rgvcdu is (his) Eastern face, Yaju rveda the
Southern, Sumaveda the Western and Atharva (veda)
the Northern. Those that are the Vedas are
these faces and tlie four quarters are the arms. The worlds
movable and immovable are verily {sprung from)
water, and Brahmiua holds those (primeval waters) ; so
the hamtuylaht (water vessel) rests in his hand. Kfila
(Time) is indicated in the hand of Brahman by the rosary,
because KtWa (Time, Death) is called so on account of
seizing (katana) all creatures. All sacrifice is propagated
by work white and non-white (i\ erl pious and impious).
Therefore, the garment of the lord, tile skirt of the black
antelope is white and not white f t. c., matted). The seven
regions are known as bhuh, thttvab, spur, mahafat (ana,
tapax and stitya.
These regions are the swans in the chariot of Brahman,
the great god. Ob best of kings, let the pericarp of the
loins, which took its birth in the navel of Vishnu, he known
ns MVru. Oh king, everywhere steadiness is the result of
■meditation', ami hence Brahman assumes (the meditative
position) by means of his corporeal lotus seat. Of the
(Supreme) Soul, one should think the best position as
devoid of form* Far the sight of the worlds He exists
with eyes closed in meditation. The medicinal plants which
help the sustenance of the earth should be known as the
matted lock.s of Brahman, the high-souled, who moves
every«here. The repositories of vidya (learning) which
CENTRAL LIBRARY
translation fjq
(act) as icvcalcrf! of tlju world, should be known as the
various ornaments of that great God,
This form of that i incomparable tsoul) that pervades
the whole world has been described to you* Thus the
Pre-eminent One of the world occupies the whole world
with hi# body.
15, Part Hl/Ch* 47, Verses 1-18,
The universe is regarded as the transformation of lhe

Supreme Being* All transformation consists of krshva
(black colour}, and through that is i he- sustenance of
worldly life, Thai, lord, the creator oT all creatures,
assumes the Irshnn1 form. The wearing of all ornaments
by Brahman* as explained, is applicable to Hart too.
He sustains by bis bosom knowledge (JRutia) a& the stair
less Imustakhn (jewel), IVmumSM is said to belong,
variegated and black (krshna), oh king* by which this
whole universe, movable and immovable is bound together.
.IriV/yd which supports this snmatira u‘,c,F worldly illusion)
is his garment. Vithju (m\T learning) is pointed out as
white, and ajitami (non-learning, absence of knowledge)
is said to be black* But tn tdyA has been described as
occupying the middle, the v id if A (knowledge or wisdom
that is to be found in) juAna, (It is) neither white
nor dark, hence this tidya (is) the hest.
Mind existing In all crenAiirofl supports the intermediate
space and it tills the quarters which are like gold and
mind should be known a# gatiupt pervading all beings
and bodies* lienee there is nothing which \n more quick
and powerful than mind.
1 Ptio dll n.r UgrJ Hr*li*fu. -u^rltiRp -Lt tlic **rnr lime ill ■ j«DliOc:ll]?n
of and ViihlJ<J or KlVuji. .mit mukitiR U<e h\.ml, eatonr, i * , H'<? itriin
reiponublc for Ilia M*o,jfi!«lniiDn df i Iie purll Hfiil, pure v*imL*ac#
Lliiil b*OOTH na dtuLU .mJ no colour.

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70 translation
I'lio four quarterst idi pious (one), ntid the fuime number
of intermedin h< direction?—those eight are specified is the
S (eight) arms of Vishnu (/it* how-carrier)*
OIl descendant of Yndu, strength, knowledge* sove
reignty anil energy are the four laces of that (great) god
of gods.
1 lie Divine \ uaudeva, the Lord FUrftkarshana,
Pradyumnn and Aniruddlm arc celebrated as manifestfitions
of these four attributes beginning with strength.
Each of the tour images of these high-aouled mani-
Testations of Vishnu should have two hands and one lacet
The sun and the moon should he known (as the
attributes! of the hands of Yasiideva, anti the Hub and
tin I'kmghfilurc of the hand* of S:irnkarshana. Oh strong-
armed (one) the bow and the anew should be known
tas attributes of) the hands of Pradyumna and by the
etperts i\n- shield and the sword are known (to be) attributes
oi the hands of Aniruddba*
f 11l- sun and the muon should he known us PuTuthto
and Prakrti. Fbese two are taken to be the wheel and
the mace in the hand of YSsudcva,
Know the ploughshare to he Time and the [icstle
to be Death, (and) with these two die fierce (Rudra)
Sanikarshatja ploughs this (universe), movable and
immovable*
The bow and arrow ol tire are in the hands of
Pradyurona. With these the Yogi hits the supreme target,
namely, ........ bject of contemplation,
n!i strong-armed one, the skin (t.c„M shield) in the
hand oJ Aniruddba should he known as the covering of
u]n<itta (absence of supreme knowledge) necessary for
the creation of the world. Renunciation- is the sword
Kniulaha. As cutting of the tie (of affection) by it. Lhc
ascetics delight i mi rid* at i) no it is traditionally called
N(t ntlulcu.
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TRANSLATION 71
Thus has been narrated to you the form of that
Formless (Being who) covers all the universe. The
highest, prie-emineot of the universe, supports the entire
world thtougb tliis form,
16. Part III, Ch* 48, Verses 1-20,

Murkandeya said: Oh strong-armed (one), SadyojSta,
Y^madOVa. Aghnra. Talputusha should he known (as the
four fates of Siva), the fifth (are (being) T&inn. The
earth is said to he SadyojiUa, water again V 5 m a dev a,
heat is Aghora and wind regarded as Tatpmtisha.
Tti Tsana, the fifth face on the top, we have the skv.
Now T shall speak about the five face? nf Siva one hj
one. Ol I lie high-sotfled tfarobhu, the eastern fare should
be known as Mahfcdeva. The three eyes of it are the
SUE, the moon and the lire.
The southern face terrific and is called Hhuirnva,
That face of Him which is western is called Nandivaktru.
And the northern (one) of that God should ho known
as 1’mAvaktra and the purifying fifth (facr) of Him
should he known as going In the name of ftadasivn.
All have three eyes except \ amadevn which has only
two eyes. The face Malmdcva is the earth and the
Rhairavn face should he next.1 Then the Nandi vaktra
is the wind and (the face) belonging to Rudra is colled
‘ the water/ Oh delighter or 1 he Yadns, the Sadnsiva
face should he known as the sky.
The ten quarters are Tfis arms. (Twrn) should
be known (as being allotted) to each lace. In the hands
of (t.r., allotted tr> the) Mahadeva (face) should he the
akshamafft (rosary) and fonmnyh\hi (waler-poth Oh
strong-armed (one), bow and arrow should be in the
Sadfttfiva face, Then the bow belonging to Mahesvara
is called Pinnka,
* Mo vijuiTiiIcDce it rnvim (litn. Hut tv-nt^n-tly Li l« bent, i.*.. flight t/jji
oLI(.'hl to lie It iJ iDn11?lld QI fef(r,, .1 copyilCt llip.
CENTRAL LIBRARY
72 translation
Oh destroyer of enemies, their significance has been ex

plained beforehand. The staff ami the citron are in the
hands allotted to ihe Bhairava (face). The Sceptre and
death have been specified,’ The citron again in the hand
(has the following significance). Oh king, in the hand of
Bhairava 1 he gem of seed is traditionally said to exist
full of the atoms of the entire seed of the universe.
(ih delighter the Yaduj, the shield and the trident
should he known to he in Ihe hand (allotted to) the
Nandi (face). The nature and significance (of the
shield) s was described to you beforehand.
Mirror and lotus should he known (being held) iu
the hands of the Devi face (i.c, 1'mavnktra).
Pure knowledge is the mirror and asceticism the lotus,
i d Muhadeva, the (great) God, the matted locks are
explained belonging to Brahman.
The lunar digit on the forehead of Stva fo celebrated as
the (six-fold divine) attribute (aiS varya)* Anger (which
serves> as death to the three worlds is known as Yasuki.
The spotted and extensive tiger-skin is the thirst for
birth. The Bull is the Divine Pharma, of four feet.
The thing productive of the universe is what is celebrat
ed as pTakrti. Prakfii is all white and hem e MaheSvara
is white.
Thus has been narrated to you the form of that. Form
less (Being who) covers all the universe. The best (sus-
tninar) of the universe through this form (sustains the
entire world.
17- Part II1( Ch. 49, Verses 1-7.
Yajra said ; Oh unmoved one, tell me {pienfle) about

the construction of the image of the Nnaatyaa. You
* Cure "S'* ffjJioi;-

1 UeH'i rliqrma itiitriid at cliinrlTiq,
CENTRAL LIBRARY
translation
iiic expected to know all about the Forms of the

Nusatyns.
Markafl4eya replied: The physicians of ibe god*
should be made by (in company of> the gad*, having
two anus, the colour like that of the lotus-leaf and gar
ments resembling the lotiis, decorated with all ornaments
and specially with beautiful eyes. In the right hands
of them should he (placed) divine medicinal plants (oh)
I wire-horn one. and in the left hands hunk* worthy of bcijjg
ahown?. (Oil) descendant ot Vadu, on the right side of one
and on the left <d another a pair of women, with beautiful
Forms nud sgrennble Unik ;it, should he >hownL Their
names are sluled as Rftpa-Sampad and Akrii. RQpa-
sum pad is said to be of l lie colour ol the madhtiku flower,
and Prahrii is sFiid on 11ti- earth to be like the reed-stalk.
(These two) should not be represented with pot* in their
hands or wearing garments ;ls white a- the moon.
Ob chief of the Y&du race, thus has been described to
yen to-day the Form of the 3S 5 ally as. He who meditates
upon or worships (them) in this earth Ijecomcs a destroyer
of all diseases of men.
18. Part III, Ch, 50* Verses 1-13,
Yajra said : Oh best of the Bhrgus, fully narrate to me

the process (jf making the image* of 5akru, Klnasu w.e.,
Yama), Varmta and Dhaonriu Kuverjii.
Markpijdeya replied : 5akra< the king of ihcgods* should
be of white dolour, and on mi elephant with four tusks; and
Suchl held by bjnj should he placed no his left l ip
5akra should wear n blue garment, have a golden com
plexion* with all ornaments and with eyes going ohlupjeJy
to the forehead. 5a kra should be done with him hand a
and 5eu;IiJ with two. On the right hands of Sakra should
hr placed the lotn* and tlie elephant-goad. One left band
10
CENTRAL LIBRARY
7* Titvs r. \T[t
i- to In- placed on the hark of Snehl and the second to

bold the thunderbolt*
On (In' left hand **i û'lit -diunld lu; placvd a Ijotinlilul
sprout of the SantAim font* of the five Irco* growing in
Imln s garden) and the right cute should lx‘ shown us
rt [ i r i:. i'H t hr httefc l pT Hit* king of ttie g*>ds, II has l«a;n
[trtscribed by Brahma liintoelf that lie shall lvi-ar ornaments
und have four hinvl»,
It also prescribed by fimtihhii, the tiod of god*. that
he -lr n 11 have three even.
Ih of golden cufmrf 1ter:iii4e hf is the receptacle of
all I ha i j- right Tire blue doth which is worn by him is
really the -In a prcudiinied tb\ tbe authorities).
* '■ 'inmartd, win eh subdues all creatures, (m prevent) in
Jii’ hm.d as the elephant-goad* Oh lord ol the earth„ the
piiM[h,-nnm chief of (he gods, the auspicious Maghavati
• \- i]il x !;. who holds ns it were the Goddcflfl of Fortune,
re.HiM-g orf the lotus Uv (carrying the) lotus im his hand.
! L< t! Hinder bolt in tin- bumf of fin bra is anger, the subduer
of the wicked.
\ ■ udeva is traditionally known aa finkra ; bo fiuclu is
rt-^.inlcrdas LakshrnT. The SuntAna-apront in her hand
should l?e knnwHii fis progeny,
\iriivaqa i- ki: »u-ii as ivrnlth and its tusks are explained
u> Lhe tj(iur) \or\ piwerful (sources ot> strength. (rt3.)
th”->r powers ■ which urc derived Irutu} divine agciwy,
(wise) counsel, suzerainty uitfl exautiiuv-
4,h k n. _, tliuh I Ij.iVt narrated to you this fiukra form
n i Vnûlevit, the kmy of tin" gods. I wiiU tell you tioVv the
1' in) ol Yutna, in wJjok control urt' the happiness :nt*l
inirtcry of man.
19, Part 1114 Ch, SI, V«ms 1-21.
Markaqijcya iinid ; \:itnn should hr represented on »

buffalo, resembling fin Colour) th* wulcr-lnden cloud,
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TltANbLATiON 7f>
wearing ii garment <ol the odour} of heund gold., and
adorned Jp> u]] ornaments. IdiUrnî-tyA of the culunr of
the blue lotus should he phn-rd on the j,.ft hip. She should
bt thiWD with two hands, md Yam.i with four
Sceptre and sword should lw displayed ju the right
Ji3liids of VfitMil CJti t|jnr tip of iJie hceptiv liould In* done
a hond with h row of JUuui^.
One left hand rest* on the hack of hhbmoruj, .uvi 11^
■ ■Iher carries & shin. The right baud of DhQmAnpl should
l*e placed on the hack of Varna, nud m Jjisr left bund
aliuuld Ln; hIujmh a l>euuttful citron. fin the right ^tdi of
him, one should represent Chitragupta with two hfuni-
and placid-looking. keeping uu eye on Yama and m
his right hand one should show a pen, ,.md iti the k*ft
n leaf.
On the left should lie shown (he terrific-looking KAJa,
l>okhng a noose. Know Yauui to be &ohkarsLanii ne
smiling n iamnsl body for the destruction of tin jjeople wiLh
a view to maintaining the moral law.
On account of the preva fentê of La way \ uma h
described as resembling in colour the hlue-lutua. His gar
ment is celebrated, oh destroyer of fra>T through \';isie
devil. By Brahma tha four-handedness of that gre.it jgud
is extolled and hie wearing of all ore utieob r- a I o
specified hy Brahma. That of .-..ij ■ ujusm-^ which
is Death should he known as the buffalo.
Yama carries in his hand the unerring seept iv repre
senting Death. That he should carry the sword and
the shield i- prescribed by Ajuruddba
Uh delight* ■ of the Yndus, DJnlniArn-i lioubf l>e
known a Kiilarfitri ilhi1 Nighl of Dentin It i- enjoined
bj SulT II r , Sivjii tbit she* too, should carry f citron.
t'hilruguptii j- really piointcd nut .< Mu smd existing
III all bodies. The leaf (represent^} tiharma, ami the pen
in 1 u^ hand adharmit*
CENTRAL LIBRARY
7f>
TRANSLATION
being hah (I duck) by tlio very form, si a inis dose

to Vania* The noose in-his hand is the inaccessible and
the foursome path of Ynm«.
\ ajr.i s;l a I : The form nf Vishnu whirl n causes destruc
tion is regarded as Sulphurs ha tin. That god was described
In yon us gmmi, having :i body ns white us tlie moon,
W hy on the scat which bespeaks destruction has Yuma
u black (kfehou) form ? i Ji prdpngntor of Uie men
of J^hrgu, remove this; doubt of mine*
Mnrkuc4ejii replied The Snrpknr&haqu form of Vishnu
is terrible (when) destroying. (>n the expiry of ti fCalpa
that <forgi) brings about the destruction of the worlds.
DU piou* iking), the world when destroyed goes into
Prakrti. Bo one with the colour of Pmkpti brings
about the destruction of the worlds.
(tiod) in the shape of Yatno huving brought about
1 lie destruction of nil creatures again and again, does
never support the combination of (all) creatures ini Prahrti.
In that Vihara which consists of pleasure mid pain he
brings about the colour and form of Vik&ra and in this
way the universe is destroyed1*
ThU form of Yama has been described to you—width
destroys the sin of nil gods. Oh high-sou led (king),
J narrate to yon now how to make tile image of Yannm,
ihe hud of waters.
20* Part III, Ch- 52* Verses l-2i.

M&rkmpdcya said : Varava, the lord of waters,
should be made on ii chariot with t*cven swans, in colour
redoubling tin ^h^sy bipis^laûli and wearing a white
cloth.
The god with a tdighih prominent belly will hr fintr-
LumiLh rlf wearing all tfrnmiieuls and decorated with necklace
ul pearls. f ■ *
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Til ANSLATfi i\ 77
I o wards 11IcfU one should place the emblem of

inaktirrt, and over the head (should he spread i jl very white
umbrella. (ili kin^, on the leTt lap should be shown- tlie
two-handed fiaurl, his wife, beautiful ml nil the limbs.
On her left bran! the blue lotus and her right one
rests on) the back of tbo god.
In the right hands of (be god should be plnrcd n lotus
and ji noose, and (one) slnmlfl put in the left (hands) a
conch atid n jewel-box.
On the right side Gafigd should be diown oil a nuikuru
with ji rhfmtftrn (lly-whisk). and lotus m Hie hands anti with
a beautiful face mul white as the moon.
Un tlie left* should be made Yamuna on ,j tortoise with
chontarfit carrying nJWpatu in the inunl. pl.irid, nj (In
colour of lbe blue cloud.
Oh king, iis the colour ol' waters is that ol the gloss\
lapis-lazuli, so Varuâ, who represents them, is of that
colour.
Uh best of tlie twice-born, they again me very while
(when) in their natural colours, so his garment is very
w bile like them.
Yajra said : M v curiosity is intense and I wish to
hear this the true and untrue colours ol water des
cribed by you.
Maikandeyu replied: oh delightin' of the Yadus,
untrue (i.e.h uafuilurul) colour oJ wjiters is that of the
htpisdufmU. That colour ol Hie sky having undergone
reflection is (so) seen in them.
That colour which is seen, oh king of waters, by the
falling down of waterfalls, resembling ........ flight, 'belongs
to them) when staying in their natural condition.
VanitJ:u the lord of wuU'i,*l is lYadyuiima, the do wet ti
de nl ol \'.riHLideva, and his wile IbiLiri yliuuJd he known as
Ibiti, oh deligliter of 11 nv Ymlus.
Ob lord (ol the earthh the delightful lolu& in her
CENTRAL LIBRARY
7fr \'i; WrtLrATiuN
hand (represents) good 1 uvh. OJi strong-armed one, the

lotus in the hand of Varumi (stands) fur 1 lit? law of
Bralun^
Knntv the cough to be riches. and the noose the fetter
{that hinds) JtatMmBnt (world) : the jewelled cast' in tile
hand should he known as the earth containing all (sorts of)
jewels.
Fame is the very white umbrella, and friendship the
nifilmra, ami his wearing of ornaments on the arm ha*
been narrated by Brahms.
tSeas of) salt, milk, ghee, curdled milk, rice-gruel,
exudation of sugar-cunc and spirituous liquor—these are
celebrated as the (seven) seas in the world, oh best chief of
men, it hi y are) the seven swam in the chariot of that
high-souled Varuija,
His wife should t*e known as YomunA, imd Bbilgl-
ratbl (represents) success, oh twice-born (one), and the
mahant and the tortoise represent virility and (appro
priate) moment.
Lotus is in the hand of heavenly Gafrgfr*
and (blue) lotua (utpala) belongs to the ancient Yamuna,
Thus has beer described to you by ioe the image of that
lord of waters who wears the noose, Oh muon of Lke ) adw
race, now I will narrate to you how to make the image of
Lhe lord of riches-
21. Part III, Ch* 53„ Verses 1-13.

Marban4eya *aid : The wealth-giver Uvuvera)
should be made ol the colour of the I ulus-leaf. having a
man as his iHhumi* lovely eyes, with necklace resting on
the belly, with a beautiful garment and a coat of mail.
Two large teeth should hr done in the mouth of him,
who wears a heard. His crown paining his foes should he
made inclined towards the left.
CENTRAL LIBRARY
TRANSLATION 7*1
The goddess Hddhi, a boon-giver should be made on

Lht! left lap. The right hand id îliat> two-handed (goddesa)
rests on the back of the god.
Oh destroyer of foes* her left ha tad should he made
holding a jewelled vessel and in the right hands (of lvuvera)
should be made a mace and a spear.
(One should make) a Hag characterised by an emblem of
lions, (and) a raised platform for the feet. Ili treasure-
bags should be made in the form of conch and lotus, and
they contain his treasures.
A conch and a lotus, rendered a^t receptacles, should re
present two hoards. His face is inclined sideways between
conch and lotus. The lord of riches should be known
by you as Auiruddhii.
The decoration (of nil his Limbs) by alt ornaments pres
cribed by Brahnifi, The wealth known as gold is the
chief of all (sorts) of richer Through hi is favour he wears
cloth of the colour of gold. The spear is traditionally aaid
to be the power, and the mace, the administration ol polity.
Rddhi is aaid to l>c the course of worldly life, and
should be known by (her very) nature. The jewelled vessel
in her band is called the receptacle of good qua lilies.
Know that sovereignty is represented by the man on
whom the god always (appears). By their shape (.ht? conch
and the lotus should he known as hoards. (Hence) by
them (the lotus and the conch) uninterrupted (stream of
wealth) is given birth to.
By (one) possessing patience the flag bearing the charac
teristic mark of lions should be known as desire.1 Oh good
one, the (two) large teeth arc the punishment and reward
uf that high-suuled (god).
Oh king, of that king uf the Vakalifts, this (is the nature
as described) in the forest named AnantadatbsJi(rftof the
' form] 11
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THANSL \TION
Ynkshanada. {Oh king) with wide and red eyes, tell me

what I shall Eell you next,1 *
22. Part III, Ch. 54t verses i-9.

Vajra said : Oh descendant or Blirgu, I wish to hear
(the process of) making the image of Ruparijn (Gnruda),
Tala, Malta ra. and the \Jnmts_
Markandevai replied: TUrfcahya ha^ st nose in (lie shape
of niii owl. ■ihas) 1-uir lutmls und resembles the emerald
urolour), and should be done with circular eyes and face,
furnished with two wings, ntid with legs and thigh*of a
vulture*
(Fie seems) flowing cm account of the nimbus (prnhhrt),
■ Intt devoid of leathers in geoertih. One should show in
his hands an umbrella and a full pitcher, and his two {other)
hands should be folded. When Vistuju is on his back, the
hands should not he made with an umbrella and a full
pitcher, hut they should support the feet of I he god. He
should be made slightly pot-bellied and adorned by all
o rn a meats.
Tula should be dune of the shape of an outspread palm
fan. His earring should be done of the shape of a mfi/.'ffra,
and toward* the top of it should he done Achyuta like a star
(rksha)3
Mind. world, love, work, traditionally enumerated in
regular succession, are celebrated as V&sudeYa, Achyuta,
strong-armed IVadynmna and Aniruddha in (due^ order.
Turk Aliya and Mnkani with TTila should he worshipped
as they belong to Yisbpu, Yam a und Vamqia, the lord of
the waters; By the leaomed they are appointed also for the
lord of birds, waters and Humes.
1 Corrupt
1 Cniru]il
CENTRAL LIBRARY
translation 61
23, Part HI* Ch. 55, Verses 1-6.
Vajra sn id : Oh pious (one), de sen lie to me the process

of making the images of f£ivu+ Agni, Nirrti and Vftyu
been use my doubt with regard to it is very groat,
MftrkaQdeyft replied : The left half of his body should he
PflrvaU, and Siva should he with four hands, (One should
■show) the rosary and the trident in the right hands. Oh
delighter of the Y a dlls, in the left (hands) should he shown a
mirror and a lotus. Sanubhu should he with one fact, with
two eves and adorned by all ornaments, oh high-souled
(king). The left pari of the body (should he) of Ids beloved.
Oh strong-armed (one), Pralmi with Purushu marked by
close union and celebrated ns Gaurmvara, they are worshipped
by all men. The cause of the trident and the like has
been explained by uie to you before.
This i* the image of I&Ana described to you. Hear
now (the description of) the image of Agni, which is
always conducive to piety (dharma), for which the Vedas
became current in the world and which is the month oj
all gods and demons.
24* Part III, Ch* 56, Verses 1-10,

Mfirkagdcya snirl : One should make Yahui
(the Firegod) the lord of gods red, with matted Jocks, with
smoke-coloured garment* surrounded with dames, placid,
tliree-eyed, bearded, four-handed, with four tasks, having
Vftta (Wind) as his charioteer and silting on a
chariot yoked by four parrots, with smoke as banner
r*
(insignia).
Like Sachl of 3akrn, the goddess Svfthfi should be
rendered hold mg a jewelled vessel in her hand, and seated
on the left (of his) lap. Flames and trident should he (held)
in the right hands of Yalwi and a rosary in the left.
II
CENTRAL LIBRARY
TRANSLATION
Red i- verily ihn coluiir uf tejns (light). su (his) rod
colour is traditionally fixed.
]Ji- having \ iu-i iis tIre chitiioiwr and his being the
source of flames are evident need no comment). Hiy
hLiving a garment of the colour of amoke—(generated in)
sacrifices is an id also to lie evident*
Hy jSambhu have been explained (his other attributes;)
rosary, indent, matted Jocks, three-eyed-nesa mid
wearing of all (suitable) ornaments.
The best abode consists of Haines, through that he
receives oblations directed towards (him) und oh killer of
foe-, lie (the Firegod) accepts them for all gods and
carries ubeiu) then (to them). Reprimand, reinsurer, fine,
and tlie fourth corporeal punishment)—these are
celebrated as ins four large tusks.
Durbha (u kind sacred grass used at sntiifkkil
. i.-remonie&j is specified as his highly purifying board*
Those that are the Vedae are ibe parrots yoked to his
chariot*
Thus has been described to yon the image of Fire,
conducive iu the access of men and dispel lor of sins, Oh
king, at the time of (performing) hatna this is to he
rued Limed upon In yim and in all ceremonies of fire, (this
i- to In- invokedi hy (you who arc) invincible.
23. Part HI, Ch. 67, Verses 1-6.

Murk ^ndrya -md Yirftp&kslia Ins expanded-eyes, a
maje-tic staff, n bright face, hairs erect, two hands and
.< yellow heard. (Hi is) of limb# rcddish-dork by colour,
with a dark gariucnt, with sill criiiiiiiL-iiU and with the
hand holding staff and rcittfu
Then should be represented by the loft the goddess,
Sjrfti by name a» his wife, with dark limbs mid a dark
face carrying a noosn in Uic hand
CENTRAL LIBRARY
translation Ki
Killa fTitii©) in called YirQpAkshi anrf rie;tih (mrtyn

id Njrfti. Hence* nh king, (cnchj wears n dark appearance
and dark garments.
The sjtafT in his hand j* death and the reins of
the camel (signify) worldly fetters 11 *« ^fonv^vunre
(vilhmin), tin- camel, is called the great *b hi non
This VirupfiksliA form in specified of him, tire un
rivalled lord of demons. Now f will describe you to-dav ,
oJi king, tho image of \ iiyu, the best fgnd * \ ruajeidic
lustre.
26* Part III* Ch 58* 1-16

Markandeya said ; Endowed with form <>r beauty, Vftyu
should he with lWO hands and oi the colour of sky and
(his) aky-gftnnciit (should he) flowing n il It the wind.
Oh twice-born one, by his left should be -down £tva,
his wife, as if moving away from bn .'ule. Parana should
he shown holding by both the hand- the end the garment,
The god should have dishevelled hair and a diseased face .
The goddess Siva again should be done ,i< very beautiful*
As VByu afford* shelter to various scents and colours,
being their support by hi* motion, so ■ h. i- <d the colour
of the unfolded (objects), i. e.. of the sky
So his garment is said to be the sky* What is .....
is the goddess Siva and the breeze is Amniririha. ilit
unhampered),
Oh king, thus hn* been described to you the image of
Pavuna* who pervades all the universe and of the goddess,
SivA, oh higb-souled (one), known to aJI the twice-born
(ones) as pure mid best.
M
27. Port III, Ch* 59, Verses 1*7*
Markimdera said Now I narrate to you ihc process'
of making the image of Rhnirsvn.
CENTRAL LIBRARY
H4 TNAN&LrATlOJ*
One should make (n figure) with round l-nwiiy ovcst
with a hig belly, with a face terrible on account of tusks,
with wide nostrils. with a garland of frapdfaj (skulls),
uwc-in spiring* fright hi My adorned on all side* with snake-
ornaments. Friglitoning the goddess Par vat I by the snake
and with elephant's skin us tlie upper garment, resembling
in colour the water-charged cloud and surrounded by many
arms decorated with »JJ sorts of weapons, bearing a like
ness to big trees.—auspicious having sharp nails. This
figure, swaying (with its right hip) is snid to be of
Bbairava/ while shown frontally ii is called Mahfikflh,
Hut the goddess should be placed on the left and in the
hand should he he lid a snake. The gorldcss Par vail should
not be (in front of him) and she should not be white
or red.
28. Part 111 b Ch. 60t Verses 1^6
Yajrn said : Oh propagator of the race of Khrgu,

speak (to me aboutl making the image of Brahma and
\ islinu, earth-goddess and Anabara (the sky-god),
Markandeya said : With one face and two hands the
Lnrd carries the club and the wheel. Another distribution
of limbs of Hari ha- already tieen narrated, for binding
the universe. That power of illusion pertaining to YisJmu
in traditionally called GandhSrl and the club in the
hand of the god is always (in the act of) subduing all
creatures.
She herself (i.c,, G&ndhArl) (represents) that very
Lakshmi„ Dhrti, Klrti, Puati, SraddhA* Sarasratl. Gfiyatrl,
the mother of the Vedas and that Xajuratri too.
'The wheel which nets the worldly existence a-going is
the wheel resting in the hand of Vishnu, the wheel of
* C/.Gapmttfa* lUo. Y„l. II. P.tt 1, pi, XN. 41-3.
* '
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TRANSLATION 85
religion (dlmrmat'hakra), the wheel of time {k&lachakrn) and
I he Zodiac (bhAchakra), oh big-armed one.
20, Part 11 i + Ch. 61, Verses 1-9.
MfirkiUidcysi asiid : The Zart 11-goddess iMahl) should

be made of the colour of the parrot, adorned with divine
ornaments with four hands, as a placid person ami with
her garment as white as thv moon light.
Oh delightcr ol the Y&davas, in the hand nl Bhu (earth-
goddess) should he held a jewel-vessel, a corn-veaad, a
vessel full of medicinal plants and a lotus.
She should he rendered seated on the back of the four
elephants of Ibe quarters. Accompanied by all vegetable
life, the goddess is traditionally said to be of bright colour.
Her white garment is religion ulharma), and the lotus
in the hand is wealth (iirtba).
The significance of the rest is known to the wise and
so it may be taken as described to you by' me to-day, oh
king. But I will narrate {now) the form oi ihc formless
Sky which has been described by the Sidtlhas.
30 Part III, Ch, 62, Verses 1-2.
Mnrkandeya said : The Sky i* of the colour of

the blue lotus and wears a garment of that colour. He
should be made piacid-lookingT with two hands carrying the
moon and the sun,
Ob king, thus has Ijeen described to you that form of
the sky which is verily allotted to iit » \"<?w comprehend
the form of that unrivalled grandfather (of the gods, f.r,*
Ertthuifi) which I shall describe.
31. Part IN. Ch. 63. Verses 1-3.
Mfirkandeya said : Brahma *lmuld be rendered seated

on n lotus-lea f-ae at, with four faces. The (goddess) Sftvitrl
CENTRAL LIBRARY
TRANSLATION
should be seated on his left lap, of (hr colour of the

sun and baring in (her) hand n garland of rosary-hoada.
Oh lord of the earth all oilier (attributes of the) form
should be ns described before, i »li handsome (one), this
farm verily (os) described before, lo the control of which
the entire world (is) subjected, should be done of the
Grandfather (h^., Brahma), the unrivalled baon-bestower.
32. Part III, Ch 64, Verses 1-7.

Markarujcvu said : The goddess Sarasvatl should he
rendered adorned with all ornaments, having four hands and
standing, (i should show) a book and a rosary in her
right band* Fn the left (hand) should be the
kamanialu (water vessel). She should be shown-with the
feet placed together and with a moon face. The Vedas
should he known as her hands and all Sastras or sciences
as the book.
The ktnnatiffahi of the goddess should be (the vessel
*’imt tilling) ific nectarine fluid nf all ffoslras and the rosary
in her hand is time (kala)t oh king. She, the personified
^nkti of \ islmu, should be known as success incarnate.
There is no doubt in (his matter. Her face is fjfnjntri
mantra celebrated as the foremost of all. She, the lotus-
eyed, should be known as having tin? sun and the moon for
her eyes.
Thus has been described to you by me the form
t.f Sarasvatl, very charming to the mind and pure, which
should be meditated upon by all who desire for success in
all objects, oh best of kings.
33. Part III, Ch. 65, Verses 1-8.

Vajra said : Oh (sage) born of gods, tell me the
process of making the image of Ananta, the supporter of
the earth, of Vishnu, of unmeasurable prowef*,.
CENTRAL LIBRARY
translation R7
Mark auclcya replied : (One should) make (Atlanta) of

the coloured the moon, with a blue garment and four bauds,
wearing nil (suitable) ornaments and having hoode bright
a* jewels. Many hoods should be done and ort that (hood)
which is the middle one the beautiful earth goddess,
should he placed, oh dslighter of Yndua,
Lotus with a tufice should be placed in the right hands
of the god and the plough jnd the conch in the left, Fn
his hand is the sea of liquor, and the tfila tree is said to
he the entire universe, oh strong-armed one. Oh supporter
of the race of the Vatins, the minimum has been mentioned
hy me before.
By him is supported the earth with mountains, forests
and woods. So the earth-goddess should be shown on the
middle hood of him, hidden, <.<\p all surrounded by hoods.
By her, let your desire of fame be (satisfied), oh chief of l!i<-
race of the Yadavas. Thus has been verily described to
you by me the form of the unthinkable great god \ ishnu.
34. Part 111, Ch. 66, Verses 1-12.
Markandeya said ; The god Turn bum should l*e

represented seated among divine mothers on a bull. Oh
descendant of Vishnu, oh beat of king*, sealed he should lie
made with lour faces like Sarva. B\ Muhadeva wa>
described to you through me the entire form of him,
Id his hand carrying a citron should he shown a skull.
The citron should he as explained by Tryumbaka.
By his right should be a pair of divine mothers and
on his left, loo* another pair* Java and Yu jay ii should
be done on the right and Javauti a* well as Apanijila
on the leti.
They should all have two hands and four faces, (and
one) should show skulls in the hands of all,
CENTRAL LIBRARY
TRANSLATION
Oh great king in the right hand of Jay 5 should be

placed a ki;iIT and in ibe hand of Vijayn shookl be placed a
sword with the colour of the mixed collyrium.
Oh king, one -I.....Id represent JayanLl carrying a
rofran and Aparajita with a small javelin in the hand.
(Ouri should make one foot of all of them resting on
footstools. I he right should be placed On the conveyance
anti the left bent, oh king.
Java should have a man (for her conveyance) and
Yijnvft an owl (Jit. should look like an owl). Jay ami is
j
mounted on a horse and Apnriijitfl (is) borne on a cloud.

The great god Turn bum should be made ns white as
moonlight.
The protector of the world, lh.it glorious god for pleas
ing the goddesses (should be) among them. And fulfilling
the desires of the worshippers that adorable destroyer of
the loos of gods sita (as aforesaid),
35 Part III, Ch. 67, Verses 1-17.

Yajra said : By you was described (the process of)
making the image of the Firegod and the lord of the
waters. Now speak to me about another pair* t.c+, the Sun
;md the Moon.
Markandeya replied : The tfun J should be made with
an auspicious moustache, of the colour of varmillLon-
decoration, with well-glowing garment and adorned by all
ornaments, with agreeable form, with four hands mid very
lustrous, well-covered by a gfifit ul mail. His waist none
called yavi-yariiga (avyauga ?)* should be shown.
In his left and right hands should be shown sunbeams
tas reins) (and he should wear) garlands auspicious and
decorated by all flowers.
1 C}, Miliftpurih,.
* i,#., th" t’rriim
CENTRAL LIBRARY
translation
hndowed with human form rmcl good-looking appearance

Dantfa (i.c.t Sceptre) should be placed on his left, and on iht
right rjflgala fof a) deep tawny (colour).
Ufi descendant of Vadiij they both should have bright
garments and the (remaining) two hands of the Suu-god
should he placed <>n their heads.
1‘inguhi carries a palm leaf and a stile. The god
(DandfU with care is shown bearing a shield and a lance.
On the left of the Sun-go cl should be a lion standard and
on both the sides of him should be placed his four sous*
llevEintn. Vatm and a pair oE Manus. Ravi, the king of
the planets, should be surrounded by planets.
Further, on all sides of him should he bis four wives,
Hajfil, Rikghubbn,1 Chhayii and the goddess Suvarchasu.
The god with Annul (as his) charioteer should he seated
on the best of chariots with one wheel, seven horses and
bearing si v tun rks.
The seven metres, (r.e.,) Gayatri, Ushnik, Anuefubh,
YphatJ, Thniikij, Triûbh and Jagutl,* lure) the seven
hor&ea in the chnriot of the Sun-gud.
With the rays resting in the hands (he) supports the
entire universe, and the lion appearing on the flag is
celebrated uh Dbarrau in person.
The god supports the entire world attached to his waist
zone. Rajhi (is) the earth (bhO), Rik&hubliu (is) the sky
(dyau) and shadow is celebrated as Chb&yA. Lustre is
called Suvarchasi, (and these arc) the wives of tJie god.
Art he is the receptacle of light, so that glorious (god)
is of a red colour.
On account of poascaaing unbearable I peat he (is)
covered all over. Thus (he Sun is celebrated us the resort
of all.
Thus has been narrated by me the Form of the Wd
of the day„ present all over the world, the receptacle of
1 N i L h I mil M-t i ii Ui<> VLr*Lnk hTiuniLl|h l,
V3
CENTRAL LIBRARY
lll> TRANSLATION
all lustre, very bright, eternal and tiler master of all

places.
36, Part. Ill, Ch. 68, Verses 1-14.
Marksntjevu as id : The Lord Moon1 should hr made
with a white body and white garment, lustrous, with nil
ornaments and four hands. In his two hands should be
two night JoUises. Lustre (k&nti) endowed with form
should be on his right side and Beauty (sohhit) on the left
unequalled in loveliness op this earth, fn- a corner on
the left side should be his ensign bearing the mark of a
lion, as in the case of the Sun.
The chariot should have Ambnra as charioteer, two
w herds and ten horses, Sraja, Trims oils, Vfja, Vftdl,
the horse Kara, Vitcli, SaptadbatU, llatiisa, Vyoma and
Mrgn, these ten from the left are all the ten horses of
the Moon.
Or (his) wives called the stars, should he represented
very beautiful and twenty-eight in lumber.
* ir conditions (bhavn) brought about through Lhe
differentiations of the body (of the gods, should be repre
sented). Oh king, oil delighter ■»j' the Yadus, hi days
of yore, in the war of the gods and the As tints, through
(their own) wish (their) bodies,— their divine forms,
(the) being) masters over (their own) selves, were multi
plied many times (and) su the demons were killed,
Thai and that god is celebrated us the presiding deity
of thai slap whose form was assumed by the star.
Then again, in ihe war of the gods and the A suras
dcuionfO, the divinities of female forms were also similarly
made so many.
Oh pious (one), moon is traditionally said to be the
procreator of all this world and when he is created, the
entire universe acquires great delight.
1 tV| »1« Milip I'lltlfli,
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TKANBLATlOJi 91
That lunar form of ihe high-wonled VLahou should be
known m the best. The night lotuses in the hands of
ihr Moon should be known as delight ami graciomsnesa
(of) dieposition,
So (Beauty and Lustre) have been specified (ami their)
own nature (explains their significance), oh dc tighter of
the Bhrgns-
Hie Moon Us) verily uJ white colour because he in
composed of the essence of*water.
The first-born (ones) fp.r., the forefalher.-) called nectar

(the) receptacle {i,e.t essence) of waters and that abode
is also pointed out :LS 11 ■»! oi the moon. Oh king, the
lion-ensign {the learned) call Dkarma and the liors^ s of
the Moon arc Specified ns the (ten) quarters
37. Part IIlt Ch. 69, Verses i-10*
Ob strong-armed one, in this connection narrate to

me (the process of) making images of planets 1 (;js) you
are considered by (all) as omniscient.
Mnrkao4eye replied ; Bhauma (Mars) should lie made
like Agio ami on a golden tsar with eight horses and Bud ha
(Mercury) should be made like Vishnu and on a cai like
that of Bhammi.
Yyliaspati (Jupiter) should be uf the colour of heated
gold and with two hands. One should put in 1 ■ ih hands
a hook and a rosary.
The preceptor (of ) he gods) wearing a yellow garment
and adorned by all the ornaments is sea mil on a divine
golden car with eight horses and charming to the eyes.
$ukra (Venus) should haven while body wearing a white
garment* He is said to have two hunch with a jewel
receptacle and a book.
1 Ci. G* 1Uo, O. C„ Vol. I. IVrl II. p. 31 y.

CENTRAL LIBRARY
09 Til i Ssi. v rtfiN

OH dHii^htrr i>r the ltbn»L«. he shines on a our with
ten lr.ir^-v iMrk nml Wt-mng a diirk garment £*ni
(Hnturn) rliouM have extended wins.
Furnished with two hands, carrying a staff and a
rtwnry ho should br cm rm iron ^chariot drawn by eight
serpent**.
Itahu j-L1111111lI be on a silver-car with eight home*.
Only tin head *hmiLd Ik- represented furnished with one
hand.
Only Lite h■ ili|>t> right hand should k *Jjown of lii.ni.
Bv one wlio kim^>F the form of tin- phi net lu'in should
be similarly made as that of Bbitnniu. Oh king, in his
, -r , un\ lti]-i- -Lniilil U rt-|ne-t nli il l hal i- the
onlv variation.
38, Pan III, Ch, 70. Vertex 1-5.
Viijri unlit : * >h (sage o(> unmeasurable lustre, describe

Lit nit the image id the Iwn Muium fas) by yon baa (al-
remlj > Ik^h df ^nM (the image) rd Yamu mid the king
tpf the god-i, oh pi-ms (one),
M :rkai^th-\;i replied The present Mami should Itf
f urn jilted with tin- marks ol a king whereas the future
nne should he devoid of all orn*fnentap wearing matted
locks and Tarrying a water vcbw! and a rosary„ Engaged
in penance, (lie) i- furnished with lustre, though lean.
All other Mann* fi i\, those c.f the future) should l*e
marked L<> asceticism. Ob Yadu, (the future Mann)
should Ik- -Ihtwti with a form similar to ÂvutM Munu.
Thn past Manus slum Id l>e marked by royal marks
imd the lord HevanLa should lie like Sflryn (and) mi the
back of a
-
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THANttl^jmON Ml
30. Kurt J i I. Ch* 71, Verses 1*18,
Vttjrn said : Oh (nage id) iinmcaHijfnLjlo Lustre, tcLI

njit (tbe jirow-i of t making tbe image* oi l!*■ datn-
caniM'i led with t hr |■ I,ini_-1—.
MArkiititK^n replied i By me were d^Hcnlvd before
the form* of YiiUui ami ihi^lord of witer* nnd (the images)
id VihIumi ami Lhf ihr km- <4 lhr gods loo hav<- already
Ihcii dr-smbcd to you,
I hjH'nk to you hum uLioiit tin? mmgr id Kumim
having fmir form*, oh ifoHCcndatit of Yudu. *.i , KurnAn,
Skrtnda, ViiAkhii ami (mjfu 1
Kumarii should he rendered with six Ism- (mid) udurm-d
by tin- feather of a pencork Having a f»-.o_’orlv for (his)
vithfitiQi (In ) bthniild wi ii ■ i'fd 1 Loth,
A cock and a bell id bis right band*, the Bag Vtijiymtl
and a ^jicar in tin- left (ours) - Inn<111 In* *hnwn
Sknnda, YiallkJia And (IiiIjji Ii add T- Jiki KumAra hul
not i111 î \ fifteen and &catod on peacock
Tlio glorious (arid) rlcrnEiL YjtMideva Vos bci-rn four-fold
as Kuniaru with :* view la Je-nim^ tin1 army of tie. _otU
Bhadrakatf should Iw imolc .i given blc (ami) with IS
bands, standing in tin posture of on i, mr drawn
bv four in ms,
w
The rosarv, (he trident, llie sword and the lucid, the
* —
bow iimi the arrow, the conch am! lhf lotus In mi Id 1*-
represented, oh descendant of Yudin A sfioun and a ladle,
a tuml-ring, nnd a water venae! should hIbo he sbuMU> A
muff and spe»r, the black-Biftclopc skin and the Are should
uUo lie irr h r bunds, but om IiliNiI of hhndruki'dl should h-
tv stowing fuses' (i.rm the irMiit/.j fiosc) nnd lh*-other
one Bhoiild 1*' currying n jewel-w^sd, nb prosp* ran* (om ).
lint* In * m»ul# r^l sJm1i> +■**

CENTRAL LIBRARY
t)4 TRANSLATION
Chaiujrnukha should he inucle like Friijftpati but without

the kwbii ns, ha- Ix-c ri deêriticd by HrahiatitL
Yinfiyitka -Ihtilli) haw tin1 fmv «f tin dcplumt anil four
hands \ trident am) (hi rosary should Iw placed in the
mÊj! builds m axe .m l a vessel full of tfUcet» in the left
(nm - i oh de irnwrnf foe*, hi- left mak should not lie
represented -
(He should Jmvei a footstool (and) ooe foot (only) should
be on the sent. The pot lull of Hwoots (referred to aIkjvc)
slmuhl U held near the tip of his mink.
i ‘h defendant of Yuriu, (hd should have a big belly
mil utf i ■’■■-. wearing a tiger^km (us} cloth and having
a serpent i ,ia his) sacred thread.
The lord \ iavnkarmii should have an appearance like
(hat id tin- Sun. He( lJusaputh should have a lustrous
appearance and two hands.
(he) creates the uuivene, be ia traditionally called
\ isv .k,i inft Tin glorious V isliQu (is) die— creator of the
universe* >ml bctitt1 is said to be VufvakarnoA*
40 Pari MI, Ch, 72, Verses 1-8.
Yap.i “■.( id i >h divine one, nil (auge) worshipped by

tie1 !_nds, d<-si riIh.j to rue i he icaug<?> of the Vasiia, of the
Yi^vadi-vu^, “f th<* SddJiyAH, ibe \dityas, the Mamin, the
llhrg'is, the divine Rudru and also the auspicious image
of Abgirasa
Mark mb yu replied
.1 Thr \ a u Ohara should be with
th, i" 'rin ■>( I'rajnpaii Hhniva by name -.aid to be with
the form cif Viahpu*
Si Mini ‘-In in lil given |hr form nt the muon. Anita
that of Y&yu* Au.dn that of the fire god and PrabhA*m
that of Yurtipa.
The Yiivjidevn^ should have divine forma like those
CENTRAL LIBRARY
translation AS
ipf £:ikrsi (i.e,, fitdrn), Thr kiii/ of vi rpi nl e devoid of
uit aye with it ln?nt forehead.
The god AAgirann should In- (;ivrn tin1 funn of \ fhu ji.i't
and the 14utlrji the fin eii M MahrHVLiru, :irirl those railed
Sftdhya-; (should In- given) the form of Ye linn.
( >h descendant of V;iftu1 I In - hO'to \f1nvjMl (should be J
given ibe form of tin- Sun itsDrvai. Idfh r, m in >iL>
discharge of their work they arc Irn-rliticjm»]Jy -ni l h> In-
similar to the rising hiii>.* Vidipn, Indrti and VnruQji
should be in fide a* described by me. The gisl- called
Maruts sliould be given the Form of Sukra
41, Part HI, Ch, 73, Veriits J-51.
Oh illuetriotiH (fingc), speak about (the process of making)

images of other god- Fast you nre said to I ■ umuisi u-r t;.
M fir k apdeya replied: The lord Kflrfynpa should be
given the form of PrajftpatL Aditi, J’iti, Kami, K^th'i.
[dinayu, Sitphikn, Muni, Kadru, Krodhfl, DarA, Prftdlts,
Yinatii, Surnbhi and Khii.s:i — these ancient divine motli< r-
should fill be rendered beautiful and with two hands.
Oh delighter of the Yudins. of these, Aditi, Yinatfl,
iJiti&nd Surabhi, the glance should be shcwvn mild.
With this form, oh beet of the Yftdavns, all iIlli dmm
ninthers should be repreHCDted by one. (engaged) in the work
of milking images,
Thft Other wives of Ivasy apa should have lashing eyes,
DiiruviiT the lord of ihc multitude of planets (gratia), should
be shown having the form of Vishnu, phiejd-loo king* witli
Li\(j arms, wheel and rays in the hand. A gusty ji, the great
hitgi1T should 1x‘ given the appearainn of Bb ivi bv i Mann.
Of the high*souled Bhfgu and others, iJii appearance is
-.uid !■■ Ihj similar- Ihc notjs of Sukii und dayaut ■ da add
Ih> made with two hands carrying a how and an arrow*
[■Ificiddookiltg, pleoting and endowed with gran'.
CENTRAL LIBRARY
vc> translation
The lord Bah, the son of Yamn + should bear the spear and
the shield; ami I'ushkam should be ol the colour of the lotus-
lea I■ The sword :111■ J the hook should bo^hoivm in liih bauds.
Jyolsnw (Moonlight), the daughter of the moon,
unrivalled on the earth through (her) beauty, should he
on the left side, adorned by nil ornaments.
The ford X;il;]kiivei.i, source of wealth* should bent
good-looking form, with a fata; having two tuaka and
carry in^ a jcwel^vea&el m his baud.
The learned should know Manjhhadra to be with the
appearance of the wealth-giver (Kuvcrn), No raised
platform (sivibii) should he made for him, (lie) with his wife
having a man for hi? liana.
Fhirojava, the son of Yftyu,should he given the appear
ance of Vuyu and the turd Yarchas* the son of Soma, should
! ■ vary beautiful, carrying in hand a lotus at ease whereby
ihe> becomes radiant.
The -mmg armed Nrirali should lie represented with four
arms and three eyes, of the colour of the ruddy sun, and
liaving the tiger's skin as his garment. (One) should pal in
his hand* Ibe trideni and a shun javelin.
The third Ohoulrl he) placed on tile hand (?) and 1 he
fourth diuiihl be threatening an advancing man visible from
a distance.
rbe learned should know Vlrabhadra, too, by this
(outward) appearance. I shall describe to youT later on, the
appearance of Dharma.
Arthu should have the appearance oF the high~souled
wealth-giver. The god Kama (Love) should be rendered
mi rival led on the earth by reason of Jim beauty -
Mr should havr s urins, adorned with the conch and Llie
lotus, carrying a how and an arrow in the hand, and wiih
eyes sportively handsome through drink.
Rati., 1‘rtii, Sakti and Muchctukti, these four beautiful
wives of Innl should be done charmingly beautiful.
CENTRAL LIBRARY
TRANSLATION 97
Four of his hands should be shown touching the honotnn

of his wives, Makara should he made hit. flag and he*
the ore at is shown with five arrow-heads.
My the left (one) should mate Nidrri (marked; hy the
baud placed on the waist. And on her right fddc (there)
should be Samkarshiign,
Vnsudeva is similarly rendered, and on the left is the
soil Maiknijicsiju.1 Oh sinless onr, I shall speak to you
about the image of Lakahmf biter on.
The goddess Surasvntt should he represented with four
hands. Oh detig liter of the Yadus, in her hands should be
shown properly the rosary, the trident, the hook and the
water vessel* The 'cry beautiful goddess Vikruiji should be
with a pitcher.
Slat, capable of subduing all creatures, is called
Chfimm,id[i. Having weapons m hands and with many
hands, a big belly, the bosom covered hy a red cloth,
carrying a spear in the hand and on a huge car that mighty
(one) should be represented.
(Almost) similar (but) by way of distinction Lushka
should he made haggard-looking and with three faces.
The goddess furnished with many hands is surrounded hy
snakes.
Bhfmfi is shown having a gurlaud of skulls and
carrying a kha(ca*ga fskull-sUfD* The messenger Sivi 1
should he rendered shining (and) with a jaclcahface.
Oh king, the goddess carrying a vessel full of blood, the
sword and llie sptnir has four hands and is standing in
the rilrfha posture.
Her fourth hand should be shown carrying flesh.
Those marked by the name of divine and described hy me
before, the mothers should he furnished «ilh suitable
* Cnnupt r*4<l|b|t.
* Cf. O. R^. Vol. I. V t p. tas inJ H» .......fc *1 ■" ^ S*SP"
Hu-lun.
Id
CENTRAL LIBRARY
9V TRANSLATION
tortus and (marked) by the god-like marks. Those mighty
(ones) wIioec form has not been described should be shown
dancing anil carrying vessels full of blood and flesh id the
hands.
The Eastern direction should be a lady rod and seated
on an elephant. The Soutb-ea&ternj is a bulky maiden of
the colour of the lotus* seated on a female elephant. The
Southern should he yellowish* placed on a chariot and with
youth (fully) attained.
The South-western belonging to Varuua is dark-yellow
and seated on a camel. The West is dark, destitute of
youth and seated on a horse*
Oh delighterof the Yacus, Yadava(the NW) is blue and
with hair almost grey* The North is white, old :tud
borne by a man.
The North-east—should lie very old, white, and seated
on a bull. The lower region is similar to the earth and
the upper regionîs suspended in the sky.
The ever-present Kila should he shown- with a noose tti
the hand, terrific, with a large face having hairs on the body
(in ihe shape of) serpents and scorpions.
Fever should be represented with three feet, having
ashes as his weapon, with flashing eyes, and fierce* with
three lace* having three eyes and three arms.
Dhanvantari should be good-looking, with a beautiful
form. A pitcher full of nectar should be placed in both of
his bands*
Eternal S&maveda should be represented but with the
face of ii dog. Or by I he clever the Vedas should be made
with the form of gods (as follows).
The Rgveda is traditionally regarded sis Brahma and the
Yajurvetja as lndra, the SAmavedu should be Vishnu and
the Atharva, Sambbtl.
CENTRAL LIBRARY
translation H9
Sitsshs should he known as Frajap&ti and Kalpa is

celebrated us BrtthmiV Bara a vat I is Grammar (vyitka-
raija) and the lord Yanina is Nirukta,
Chandafl is ihe Earth, and Tyotisn is the glorious Sun.
MitnJHtsft is the glorious Moon and NyayaT tJic Wind,
Pharma (represents) DhariiiiuGFialrne and Jlanu, the PurSqa.
J?raj&pat» (represents) Itihilse and Satakratu Dhaiittr-
veda. The lord god Dhauvaxrfari himself is Ayurveda
and t lie goddess Mali! (represents) the Phalaveda,
Mahcsvara (represents) the science of dancing
(Nrtvasfislra). Baibkarshana (represents) the Pancharfttra,
Pudra* the lVisnpaia and Atlanta ^ the P&tanj&la and
the sage Kapila the tittmkbya. The lord of wealth
(Kuvera) is celebrated (us representing) all the sciences of
wealth (Arlhasastra). The god Kfimn, instructor of the
world, (represents) all the tine and mechanical arts (K&1&*
sfistra). All the other sciences are said to be
produced by that author who is the deity of that (particular
science). He represents the body of the sfistra kavya.
Oh destroyer of foes, the form of the different limbs of
time should he made resembling the appearance of their
own god> (?)
Ub moon of the Yadu race, thus has been described to
you the form of all the best of the gods.
42, Part III, Ch, 74, Verses d-5.
Vajra said : Oh sinless one, tell me (the process of)

making the form of a Li*tga♦
jUarkanch yn replied ; Verily when a Lingti is worship
ped, the adoration of the world should be (regarded as)
accomplished. The upper portion of it should be round,
but one should make the middle portion octagonal and that
near the brahmaplfha {i.e<t the lowermost portion) is
square. The round portion is to be shown (entirely), while
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100 THAN STATION
the octagonal portion is inserted into the pin-'lifca and 11 it:

square portion is wit bin the brahntup~t(ha. Towards the
top of the Liuqa from the front the hem should he marked,
well rounded and curvated upward. All oilier (charac
teristics) of the Linga were laid down by the learned in
the Brabiuasiltra and have to be selected with discrimi
nation.
4
43. Part III, Ch. 75, Versts 1-9,
Vnjr:i said : Qh best of the supporters of dfcitrmu,

describe to me the form of Vyoma topper regions), for lie
being worshipped, the worship of the world should be
(regarded asl accomplished.
MArkaodevji replied : The lowermost portion should
be square and then circular, oh strong-armed (one), then
slightly four-sided1 and then (fullyh square. Then slightly
four sided and placid like the Merit, This (the lowermost)
is called blind rainthaT the third pari of Vyoma. This
is the nature or characteristic of all the hfuulrtipUhas.
The middle portion is said to he Four*sidcd and is known
as Aambfeatui.
On the topmost portion, there (one) should place the
lotus with eight beautiful petals and on the pericarp bl
its midst, the Sun-god. On the petals (one) should place
the Dikp&las in their proper places, ("ndernealli the
bhadrapiiha (one should) fix the Earth.
Therefore (the learned) know the lotus (to be) the upper
regions, all the chief gods are close at hand there.
Oh strong-armed one, Vyoma has been described to you
as full of all gods and one gets all desires by performing
its worship.
Oh you hero, the chief nf the Tadava family, by me
has thus been described to you the true form of Vyoma.
Will, tdjrea beveled off ?

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THAN SLAT] ON tui

Through the worship of \Fyonifl 11 it] entire world should
tic (regarded na) worshipped.
44, Part HI, Ch. 76, Verses 1-5*
Oh deEighter of the BhrgUii, Xara ami Nftr&yann should

he endowed with what form? (And) how shou ld Hari and
Krslifla he made?
Mzirkaodeya replied a Often like the LJQrvii grass, Nara
should he represented with two hands, Oh strong-armed
one, Naravana with four hands resembles (in colour) the
blue-lotus stalk. In their midst should he Vadarl decorated
with fruits. Along-side Vadari they should he shown carry
ing rosaries and on an eight-wheeled beautiful chariot
endowed with grandeur. Self-contained (they should he
represented), wearing bJacb-untelopc-skins and braided hair
forming roils on the top of their heads, with one foot placed
on the chariot and with the other touching the knee. Hari
should he like Nan arid Krshua resembling Nfirayuna.
45. Part III, Ch. 77, Verses 1-10.
Yajj-a said : Oh pious (one), oh conqueror, describe lo

toe (the process of) making the image of Pharma,, JMmi
(Knowledge), Yniragyu (Detachment) amd Aisvarya
(Wealth)*
Mirktirideya said ; By one who knows, Dhntma should
be made four-faced, four-footed and four-armed, with a
white garment, possessed ol alt ornaments, and of white
colour. In his right hand (one should show) the rosary and
in the left the book. By the right side should be shown
Adherence (Yyaviudtya) in person and by the left Happiness
very beautiful. The hands ol Pharma should he placed
on the head of (either of) them.
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103 TRANSLATION
Kalri is traditionally known the rosary mid the Veda
(Uganda), the l>ook. The four facta arc yajna (sacrifice),
satya (truth)! lapns (austerity) and dnna (liberality).
Time and place, purity and purification—(each oJ these)
V traditionally known aa an arm of him, Oh pious (one),
I he four feet of that god should be known as firuti (rcvcla*
tioi] ', smrti (recoJlection), good be)mviour and self-content-
merit. He is celebrated ns having knowledge for bis
garment and as white on account of the preponderance of
t
50 fra.
Or fourteen wives of him should be represented, Klrii

(fame), Lakuhnij (fortune), Dhrti (fortitude), MedhS (in*
teliect), bus hii (development), SraddhS (reverence) „ Kriyii
(activity), Mati <judgment), Buddbi (intelligence), Lajja
(bnskfuliioatO, ft'inti rpeace). Siddhi (success), and Tushti
(satisfaction), the fourteenth. All these doors of dharmu
have been pointed out to you. They should be endowed
with forms, lustrous and well-ornamented and with two
bands. Only il any one \< accompanied by his wife and
then is initiated (into the mysteries of Dharma) then
DJiarma should be (regarded as) established.
46. Part III, Ch, 7S, Verses 1-13,

Milrkfuideya said : That Vishpu assuming the shape
of the Man-lion (Namsitpha) has been called jfidtut (know
ledge) by tho.se knowing dtiyana (meditation), oh tormentor
of the strength of others.
With broad shoulder, hip and neck, with lean middle
and £i smalt abdomen,, the main (part of the) body lustrous,
decorated by all ornaments, he should be in the position of
atHfha on a throne. The fate surrounded by a garland
of flames has flames jjh manes, {He is shown as) piercing
the heart of Hirutyyukuîpu with sharp nails. Tlie demon
Hirapyakasipu should be of the colour of ihe blue lotus and
CENTRAL LIBRARY
translation 103
place*! on the knee of the god, The learned know him to

be ignorance (ajnana)» The lord (really) embodying the
soul of Sainkatfibaijap is the destroyer of ignorance.
Oh twicc-borb (one), the gud Baibkarsbana always
destroys up the threefold impurity of this world (i.erp that)
sprung from speech, mind and body,
Hari ns the part (manifestation) of Snmkarshana as
suming the shape of the Man-lion (Narasitphu), becomes the
dj speller of the three kinds of fa mas,
Resembling bis form (assumed) through kindness, no
other form exists in this universe. The Nrsiuiha form of
the god is the dispeller of all ignorance.
The lord god Hari should be easily seated on a
lion-throne, furnished with two hands resting on ibe heads
of Gadfi {the personified club)*
The lord with a body full of flsimes and carrying a
conch and a lotus has (his) feet slightly raised, and placed
on the hands of the earth endowed with human form.
Or Nurasimha should he beautified T>y hands bolding
the conch, the wheel, the dub and the lotu^ and with hair
looking like curling flames of fire, to he seen with difficulty
on account of the prdbh&mat/iiala (halo). He should be lur-
nished with all implements (but) devoid of all ornaments,
Npsimha, the sky-colourcd* the receptacle of lustre,
the lord of the worlds, is knowledge. Of that inscrutable
Jan&jpdana, the three-fold form has thus been narrated
by me*
47. Part III, Ch. 79, Verses i-II*
Varfiha, (is) the glorious Jlari, in whom (is) centred (all

the) wealth (aidvarya) and lie holds Earth by the tip of his
tusk through the power of his aisYnrya (i * greatness).
Hr the Human-hoar, the Lord should be placed oil $esha.
Sc&ba should be represented with four bands, with beau
tiful jewelled hoods, with eyes wide open and beaming with
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104 TRANSLATION
wonder and engaged in looking at the god. Oh descendant
of Yada, in his hands should he planed the plough find
the niEice (or club). (He) should further he shown hands
joined in- the af&jali pose anti with ^nsike ornaments,
liln^nviin should be on his back standing in thr alldhu
jiostijre.
Clinging to Uiisi left arm Earth should hr represented
ns a woman engaged in respectful salutation* be nut if til and
with two hands.
In that hand which supports 11 ic- goddess 4 Earth) there
should be the conch and his oilier hands should he rendered
t arrying the lotus, the wheel and the mace.
Or Bhagnvfm should he with Htrai^yak^hn (standing) in
front with raised spear* (his own) hand with the wheel
(being) ready to cut off the head of Hiranyftksha.
The learned know Hjra^yiik&ha tn he Absence of power
incarnate. lie, the destroyer of foes, was destroyed by
Yarfiha ihmugh (his) aisvarya (power).
Or (he) shoutrf l>c represented writh two hands about to
carry the earth.
With the form of an entire boar amidst numerous Dftnnvaft
in (the act of) supporting the earth (he) should he shown
(either as) a Nj-variUm (Human-boar) (or merely as a) boar.
The glorious Animddha should be Var&ha who rescued
the entire earth through (his) power (aisearyn) mid cimteiu-
pjation (yoga). His power, the dispeller of all sine
(;is he is)* oh king, was not arrested in any place.
48, Part III* Ch, 80, Verses t-6.

\’:ijra said : Ob strong-armed one, in this connection
l wish to hear the (description of the) form Hayagrfva
of \'islu>u of immeasurable greatness.
Mftrkap4ay& replied : The god with (the) head of a
horse (t.e, f Hayagrlva) should be shown wearing p blue
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translation 105
garment and with a smiling countenance arnl with (hUj

feel renting on the hands of the goddess earth.
Know the god Hayagrlva to be a part of Samkitrshana,
The god should be with eight hands and in four of his
hands the learned (icon-maker) should show the couch, the
wheel, the mace anti the lotus endrwed with forms (afctara).
The four (other) hands should be placed hy the god on
the head of the personified Vedas. By the god Hayagrfva
wearing all ornaments, in days of yore the Vedas were
rescued.
Oh chief of the Yadava family, the Vedas were stolen
by two chief demons and by the Supreme Bring haring
the head of a horse, by that excellent (god) they were res
cued from the nether region.
49. Pact III, Gh. SI, Verses 1-8.
Vajra raid : Describe mo) me the form of Pad man lb ha,1

the lord of the worlds, wherein Brahma, the god of godsT
was horn from the Jotus-faee.
Varkan ley a replied : Sesha* looking like a snake, with
a head to he seen with difficulty on account of valuable
gems and a number of hood'., should he represented lying
in water.
Thereon the god of gods should he shown asleep with
four heads* Oh lord (of the earth) one of his legs should
be placed on the lap of LnkshmT*
The oilier should Le placed on ihe tlank of the body of
iêsha. One of his bands should he extended over the knee*
Another hand should he placed on the navel and a third
should I e under the head of the god.
And the remaining one should be holding a sprout of
the Santana (tree). Oh descendant of Yadut on the lotus
1 cf, o. n*o. i, c.
14
CENTRAL LIBRARY
IUt> translation
containing the entire earth (and) sprung from his navel-

pool in front of the goddess (Lakshin I) 15r:ilimrt should be
shown* Clinging to the lotus-stalks should be Madhu and
Kaitabha.
Then near the snake there should be weapons in human
shape.1 Oh leader of the Yftdava chiefs, thus lias been
described to you the image of that great god.
50. Pari III, Ch» 32* Verses 1-10.
Vajra said; Oh propagator of the Bhrgu race, speak

to me about ihe form oi Lakdhmi, the mother oi the entire
earth and the wife of the high-smiled Vishnu,
MArkandeya replied ; The goddess Lakshin!* oh king,
should he of divine iorm, fair* wearing white garments,
near Ilari, adorned by all ornaments, with two hands,
unrivalled in point of beauty on earth and carrying
beautiful lotuses in the hand.
The goddess separately should be represented with four
hands on an auspicious throne. On her throne should be
a lotus with beautiful pericarps ami eight petals* Oh
prosperous (king). Oh strong-armed (one), the goddess
should be seated like Vin&yaka r>n the pericarp. Oh best
of the YadfivftB, in her right hand should he a conspicuous
lotus with Jong stalk, touching the end of the armlet. Oh
king, in the left should be a charming ncciar-pot. Oh king,
the other two hand?* should carry a conch and a Biha
{Aegte Narmelog).
Behind her back there should be a pair of elephants
pouring out the contents of two jars. Above the head of
the goddess should be a charming lotos.
Know that to hi- good luck and the conch to be
prosperity, the ttilva to Le the entire world and the lotus in
Aj-U'ltLIk JTuTlAaliail, WeUfHJD*.

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TRANSLATION 107
the hand of LakshinF to be the nectarine essence of water*

QIj best of the lwice-hornp take the pair of elephants as
exalted rank and tlie conch and lhe lotus to be two seas.
Or (the goddess) should he marie standing on a loins,
with two hands, carrying the conch and the lotus, beautiful
in all her limbs, adorned by all ornaments, of the colour
of the interior of the Joins, glorious and wet. Over
and near the head two handsome Vi dyad haras should he
shown flying near the head,* with ihc right-bunds placed
on the heads* with the (left) hands carrying swords and
engaged in looking at the goddess. Near that goddess
should bn done RnjaBrT, Svarga Lakshiul, Brfthml Lakshml
and Jay a Lakshint. (They) should all be made with
beautiful figures and well-ornamented*
Oh higb-souled (king), know that lotus on which
stood Lakshml to be Kesava (because) separated from
Madhnsiidana she the mother of the universe does not
rest in peace for a moment even.
*
91. Part IH, Ch. 83, Verses i-14.

Yajra said : Remove my doubt ns to the form with
which llari, assuming the form of Yisvartlpa* should be
represented* You are verily called omniscient*
MArkandeya salt! : To begin with the god should be
shown four-faced, Over i hat again should he MaheSvara
faces. They arc devoid of the Tsftna face (as) told by me
before. Above them should be placed the lirAhmi face us
aforesaid.
Then other faces should be placed upwards but in u
curved line. (One) should make (faces) of all the gods
and others too.1
The faces that arc of various shapes (belonging) to all
living creatures and all those glances specified by the
C}, RA[» iuiqVitia.

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10& translation
high-sou led (peers) in the rules of ettiira should he shown

on his heads in part. Me should be shown devouring
(everything). Various beings should bo shown shaking
with other (t.c., [ill sort* of} face a, all conducive to the
terror of (rH) sentient beings. (There arc) other faces
which are auspicious.
According to the capacity (■>( the artist} that god
should be made. Those hand-poses which were seen by
the illustrious (sages) in the science of dancing slum Id u 11
Ire shown (performed by) the arms of that god. Other
bands should lie adorned with all weapons, others carrying
sacrificial sticks, pots of {tmemf containing) Time; arts and
musk-.
Oh infallible (one), another form different from this
should be like that of Valkut>tba (another form of Vishnu).
Moreoverr oh king, by way of chitra (paintings)
according to the rules of the Siisiras one should show
the whole aggregate of the three worlds attached to
his body. Of that high-souled, many-formed god alt
the colours should he shown (painted) on his various
heads,
Thus should ho made, according In (one's own) power,
the Lord, whole and entire, the chief of the worlds The
form of that Supreme Being is beyond being described in
its entirety, what to speck of its being made.
52. Part 111T Ch+ 84, Verses 1-15.

Murkaijdcya said : Listen lo my description of the
(process of) making the image ul Aitluka. By worshipping
Aiduka the worship or this world should be (regarded as)
accomplished.
Oh besL uf the Y^davas, oh subduer of enemies,
the learned should make a bhadrapltha furnished with four
pleasing steps in all direction's.
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TRANSLATION 109
Oil aubducr of foes, (one) should place another bhadra-

pUlin above it and another ovi r it like that.
By one who knows, a phallic figure should be placed
od the top of it; it should also be funushud with the lines
of i phallus.
Jn the mi cl st of ii (one} should show a quadrangular
fixed sufT. Over it should be thirteen steps.
Over it there should be a -hmmg raft. And over it again
there should be made a well Ft)uruled -it df, <dt king, ins* rted
into a hall moon and decorated by solar and Uimn discs.
Oh king, the steps which htive been referred to hy
me and the shining raft should be known by you to be
the fourteen worlds,
in the phallus is the god Mil lies vat a and the circular
staff is Brahma.
The stick that is quadrangular is the god Jurulrd ina.
The three bhadmpTi hag should be known ns the three
qualities. The three worlds containing (all that is) move-
able and immoveable are said to be the receptacle of the
three qualities.
Below the worlds but above the phallus the LukapiUns
should be represented on four sides carrying spears in
hands—Viruda-, Dhrtarfl$tra, \ irupaksa and the powerful
Kuvera, oh descendant of Vndu,
They should be armoured, adorned by all auspicious
ornaments, handsome and wearing dresses like the sun
Surya).
Know &ikrn, the lord of the hosts of the Dcvas and
DbftarAsbtrfl the lord of Gapus to he VarnaT t!ie conductor
of the world, Know VirQpiiksha to be Yartiua, the lord of
waters and Kuverii, the king of kings as the master
wealth-giver.
Oh chief of theVadu family, thus has been described
by me the image olMiduku. said to be conducive to the
well-being of the people-
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no translation
53. .'art III, Ch. 65, Verses 1-79.
Ob descendant of E3Firgu, narrate to me (Ihe process

of) making the image of the bigb-souled. eternal, Omni-
form god, Vtfcsudeva,
Mark in 1 cya replied : He lias one fui-e. four arms. :ind is
of placid form, good to look at. He is adorned with all
(suitable) ornaments, of the colour of the water-laden cloud,
shining with a neck with auspicious lines like the conch,
furnished with the best of kitniald& (ear-ornaments), pro
vided with a good covering. He wears armlets, has fastened
brficekts round the armlets and i> decorated by the vanamQlS,
supports on the bosom the kaust ubfta jewel and on the head
the frirffa.
The lotus over the head uf this (god) should have charm
ing pericarps.
lie is slim, with long arms olid joined fists and has
fingers with copper (coloured) nails. Between his legs
the earth should be shown with the appearance of a woman,
tawny like the cmbJic myrobulun and with ;i middle beau
tified by the wuvy trival! the three folds above the
navel of a woman regarded as a mark of beauty). The
god J:m ird ui.i should have Ids IVet placed l t'ila apart* with
the right slightly stretched and with the feet placed on
the hands of that (earth-goddess). The earth should be
made with glances (as if) surprised aL ihe sight of the god
and the god should he rendered with his waist-cloth cm tend
ing up to the knee.
Van a mil ft (flower garland) should extend to the knee
of the god and the sacred thread should extend to the
navel*
(One) should put into the right hand of the god a
full-blown lotus and the couch should he placed in the
left-hand with the shape of a conch,
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TRAK&LATION ill
On the right should be the goddess Gadn, in the shape
of a woman with a thin middle, with beautiful eyes, adorned
with all ornaments and lovely*
The goddess should carry a ch nnara looking at ihe lord
of the god of gods. The right hand of the god should be
placed on her bead.
Placed on the left side should ho Chakra with a big belly,
furnished with all ornaments, with eyes wide open IeisJ in
dancing. He should carry a cltftmara and should be en
gaged aL looking at the god. The left hand of the god
should be placed on the head of that (Chakra).
Yajra said : What fis) the fear of that god that he 1,
always with all weapons ready, as He is (there) the soul
of all and the dispeller of the fear of the dwellers in
heaven,
Matrkagdeya replied : Oh descendant of Yadu, these are
not weapons by their true nature but the chief elements
(which) the lord Hari supports.
Oil strong-armed (king), know (that) 1 he conch in the
hand of the god is the sky and the chakra (wheel' to he the
air and (jada (club) of that lord, the heat and lotus placed
in the middle of the legs to be water. These chief elements
forsaken by Hari, oh king, are soon split tipT so Han sup
ports (them). Y is linn is called the Supreme Soul and the
souls in the body (of creatures) are quitted by (emanated
from) Him See for yourself that by all means the elements
(forsaken by him) are split up (whereas) by the elements
held up by the god the world is supported, oil de lighter of
the Yndus, ills (main) function ns Viskpu consists in
that power of him which supports.
The lord Saihkarshaqn should have the appearance of
Yfisudeva but with a while body and a blue uresi?, oh best
of 1 tie Yndus.
In place of gada, the pestle (should bo represented) and
in place of chakra, the plough. They should he endowed
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112 TRANSLATION
with the forms of men, furnished with beauty unci with

thill middle.
Prrtdyinzma again should have the appearance of
A Visudeva but he is green like the dhred-sprout and wears
a white garment. 1place of ihc wheel should be the boiv
and in place of the club the arrow anti the plough and spear
should be shown similar to them assuming human
bodies).
(One) should make this image, too, for Aniruddha,
with a body of the colour of the lotus-petal and wearing
a red cloth; in place uf the wheel should ho the sword.
The personified shield should have the appearance of chakra
per-, niiied (but) the sword is rendered us a man of high
stature. Their beautiful real forma in the sluajic of wea
pons should be partially shown cm the beads of chakra and
others, oh descendant of Yadu,
The distinguished ensigns of the gods should he shown
on the left side ami mounted on staffs and furnished with
their (own) symbols.
tOne) should make the porter of Yfisudeva of yellow
colour. The two heroes, Btibhadra and Vasubhadra by
name have darts in their hands.
Arabia and YnjfiatAta should be door-keepers for Sam-
karshitfa. Illustrious they (are) of a blue colour and carry
clubs*
The door-keepers of Pnidjumna ar~ J iya mid Vijaya.
Oh illustrious (king), they Eire of a white colour and catty
swords.
Amoda and Framoda of great strength, Lhe chief of the
gods, of a white colour and carrying spears should be
known cite j sorters of Aniruddh-i, oh prosperous (king).
They should all he decorated by ell ornaments and with
goud figures.
They should have two hand? with forefingers raised.
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THAN NATION lift

Their glance should be directed towards the door, oh strong-
armed (king)*
Know Subhadra to Imi Sakra and Vasubhadra, Hut&snna
(i.e., Fire-god) and know ftsadhri to be Yama, the chief-god
of gods, oh descendant of Yadu.
Know Yajfiaiuta to be the unrepreachable god Virupaksba
and Jaya to be Varupa, the great lord of the waters
Oh delighter of the Y&du»^ know ’V ijaya to be Pavana
and Auiodn as K over a and Framed a a? Siva.
They all should be with bodies as described by DiOnagi,
3o they have been thus described again by the high-fouled
(sages).
till king, (these are) the eight attendants of gods and
hear me speak about them. The porters of V&sudeva are
regarded as aitimfi (the power of becoming as small as an
atom) and taghima (the power oT assuming excessive light*
heae at will). The porters of Batbkarehapa are named
nmhima (the power of increasing size at will) and
\ivu\di (the power of obtaining anything at will). The
two regarding Pradyumna are called PrakSmya (irresistible
will) and i&itra (greatness—-one ol the eight siddhis or super-
natural attributes). Know Ainoda to be vatiteo (the power
of control, one of the eight siddhis). Know Pramoda,
revered by all people to be there where (rests) AdmarfWayifa
(the power of suppressing passions—one of (hi eight
siddhis).
Thus has been described to you (the process of) making
the image of the four-formed God. (He) called VaikuQtha
should he made having one form only.
He, the Lord should be made with four faces and (bu?
been) described before, The Four-fold face being shown he
becomes the four-formed (deity).
16
CENTRAL LIBRARY
114 translation
The eastern should be placid which all know to be the

chief. The southern one* the face of knowledge* should he
made resembling a lion-face.
Thai western face which is terrible is called wealth
(si&varya). Other features of the four faces should he
rendered as described.
Oh delighter of the Yadus, Turkshya (Oaruda) should
be made four-armed, „
Oh pious (king), Gorin} a should be made with hands
joined in the aiijali pose.
Seated on his hack happily he carries the lotus in hind.
On the wings of Garudn* (r&dft and Chakra should be
sealed.
Sitting on Garuda as her sent or seated on ihc left lap
Sri should be shown or the God should be rendered charming
seated on the Sea ha serpent.
Shaded by his hoods the face of tbe god may be seen
with difficulty and the four hands of the (god) seated on
the Scuba serpent are empty. Near bint should t>c the
wheel (chakra) and the club (gad*) with human bodies.
Tifikshim again should he on his (left lap) or seated on
the Seehn serpent.
Or the glorious ffari, should he lying on Scshaas his
bedstead,
When lightning appeared (He is) with a figure as
described by me,1
Hie form of Nrsimha has been described by me as also
that id \ amhu± Kajrila, Viavurupa, Hnyagrtvo, Pndroa-
nAbhar that of Brahmfi* Rudraand Rama (was described) by
the high-souled Pushkura. The god Yamuna should be
with narrow joints, hut with =i flabby body, carrying a stuJf
Curmpl ,
CENTRAL LIBRARY
TftAJSSLATION 115
fin*! ready for study, <Uc) should tie green like ttie durvft
and wearing black (or) antelope-skin,
Trivikr&ma again should be of \Uc colour of the water
laden cloud, currying the stall and the noose and with the
conch kissing Ids lips
His conch, wheel, club :md lotos should be made in
their natural conditions, should not be with human bodies
and the rest should lie us aforesaid*
The god should be shown with expanded eyes with a
face raised. The form of Nara us well as ul ff£rfiya#;t was
described 1o you before and tluit of Krsbga with Hari and
the son of Vanina, Hamsa, Matsyu and Kurina should be
represented bearing (their own natural) appearances.
But Jan&rdaiiu, the god of gods, should he shown as a
homed fish* (He) may again l>e made as a female or nn-
mooted by all ornaments. Jn his hand should bo the
nectar-pot,.1 King Pjrthu (who is very liberal) should be
represented with tlie characteristics of a ciiakrtn urtiii.
R4marthe descendant of Rhrgu, should be awe-inspiring
with his circle of matted locks. In his hand, wearing
the black antelope skin, should be the uxor
Rama, the son ol Darfaratha, should be marked by marks
of a king. B hit rata, Lakshmaqa and Satrughna of great
renown should all be represented similarly but devoid of
crowns, Vulmfki should ho fair and almost hidden from
sight by the circle of matted locks.
Calm and engaged in asceticism, lie is neither lean r or
plump. One should give to Xtattutreyu all the marks of
Valuilki.
Vyiisa is of dark complex ion and with a calm mien.
His four disciples, Suiounta, Jairaini, Pflila, Vaisampfiyaim,
■ I’jobfrbl? itkTnn^ l* lh* farm at ViriipJ-
-r •
CENTRAL LIBRARY
116 TRANSLATION
of brown Complexion and heavy matted locks should
ho by ihcir sides. Then Yodhishthiru should he marked by
The marks of a king.
Yrkodum should be shown with a heard, u very plump
body, (but) lean middle, with bent glance and contracted
eye-brows and carrying a club. Arjuna should he made
beautiful, adorned by all ornaments, wearing hinta and red
nrmlcts, green like the riAira and carrying a bow and
arrow. Nakula and Sahadeva should both be like the
Asviiifl but carrying swords and shields and not medicinal
plants. Kf^hijiT should he very beautiful resembling in
colour the blue lotus-leaf, Devaki should be pale-rod like
the tip of the padma-leaf.
f _
Yasmki similarly should be of the colour of the Madhuka
"
<*- -i dower. Th^Lgoddess, a part oi -the Supreme Brtrtj;, carry

ing a padmet in her hand and with the left hand resting
on the waist should l>c standing between Rama and
Krshoa. la should be white, wearing a deep blue
garment,, with eyes dilated through (drinking) wine,
wearing kuiyiulas and carrying ihe plough-share and the
dub. Krshna should be of the colour of the bluc-lMus-
petal and carrying the wheel* Rukmipl should be brown
carrying a blue lotus and Satyaîiinai should be vary
beautiful and riding on Garuda.
Other wives should be shown an very charming and very
beautiful* Fradyumna should be good-looking, carrying
the bow and the arrow.
Oh king, lord Aniruddka again should carry the sword
and the shield, wearing a white groan liko the
durca-sprout and excited by drink.
Sftmbn should lx? made specially beautiful carrying a
club. SfLjnha and Aniruddha should Ijo made lotub-coloured
and with red garments and by their aides should be two
Female attendants with swords in handa.
CENTRAL LIBRARY
aKAJNBLATlOfc 11?
\ miidlrftiin should be talJ, carrying ihc bow ;mn the

arrow, with beautiful eyes, with long arms and by colour
resembling the womb of the utpala (flower).
< >ii king, the manifestations of Vishnu, the (great)
god of guttah are (scarcely) capable of being narrated in
detail. By the learned they should l>e represented (by)
looking at the &istraa properly and by the exercise of
intelligence- ,
CENTRAL LIBRARY
INDEX TO CHAPTERS ON PAINTING

CENTRAL LIBRARY
INDEX
Abhilftatiitilrtha ChlntH-mani, J [k Gandharva, 14, 33.
Adbimta, 5BP fill. Ojim -u, GO, fii.
47, jj'J. Ghana, fl'l.
Adrsllkl. It), IS. Guliynka, 33.
Ajnntu. 5.
Airika, 15, f>S. Hartun, la, 14, 35, SGP 30, 41.
^rjuna, l. Jlaciuirtuci., ii(t,
Alwjh*, 48. I <>, 58p 00.
Al|>oca, S. ELa^ya tide Elasa,
13j 33. 1lima vat, G.
Annuls, 3G.
At'i mddh&p 4, 54. JuirntnL, 1.
Auvtatta, G. Jain bQdri pa, 33.
Anrju* 13, 43* Jaitoila, 4,
Apanra, 35, 35,
Aril hard ha, 47, Kslh'inti, 18, 33.
ArdgavilDiQbana, 13, 43, 15. KiHiiHûtrs, 17.
Kurfataka, 56.
ftalartitna, 4, Kanina, 19, 59,
Balita, 47. Ktn [him. 14," 53.
Bh&dra, 11, 1£, 14, 35, 38, 53. K ryliNft, 4.
BkRrat*, 33. KftatrivJi, 13, 30.
Bhayanaka, IB, 51). Kîya, 14, 15, 47, *8, 01.
Bhikkluinis, 0.
Bliima, I, Liivanya, 40.
Brlmt SttpnliilH, 1’2, 14, 1 h
S. Mill Imryn, 48,
Madhya, 47, 51).
ChaEfta, 47, MailliyJrJJi:i, 47.
EfliotaDi, 10, SO. 61. SJagadha, IS. 33.
Chit™, 5, 81-S3, 47, 53, 01, Mahi& Utninâgga Jataka, A.
CliiiriiblaltfriianA, S, 14, £$-&&. MRlavibu^nimllra, 5.
Chiltigirn, 0. Miilavya, l£* 14, 35. 38, 53, 5k
Mutts vide [immana.
Paili'a, 14, 33, 53, 54, 55. Manila] a, 48.
D Anaya, J 4, 35, 53. Mi&ia, S, 5 [.
I>enkl, 4. MnulrSvflikvhaâ, 7.
Dhutichitm, 3.
bsain 1 j on bz&ir, D+ Nfig»* I k 33, 53, 54, 5!).
1 trsli Til, 1(1, ] I!, IS. Nuâra, S, 51.
DvSpare, 33. Nukhu, 7.
NakuTa, 4.
(rAnn, 54. NaIb, 47.
Gantjaparf vftt& rid* I’uriivrtta. NlfyaS&et mT 5, 10, 15, 19.
tl2l>
1G
CENTRAL LIBRARY
13‘J INDEX
Pal la* 4. Suclra, 15, 33, 55.

Pallava, IS, 3!l. Silk ram t iûra, 14, £3 + 28+
Paficbuta?, IS, 33. Sudllilita* 4.
Pat^vÎU, 13+ 43, 47- Sumeru+ 0+ 0 2.
Pjirivrtla, 14. 43, Hi. SurafCTifi, 1 S. 33,
iTirfevlkL4:i( n, t3, 43, 15+ 17. SlirnMihdTAbItumijB, 5 I.
Pal raja, ! 5+ 52.. Snebira, 02,
PiSScha, 33. [jd, 54. Simpna-YflsavaRattfl, S.
PndjumnB, 54.
3. Tiila, £5.
I'rimiTm, i \r 15, 40+1S TfilacnOna, 14.
Pnimalhn, 53, 54. Î’ainafl, £9.
l>rui;&iiJiijit+ fi. TdtltFhja, GU.
PmtvilTjhfc, 47, 4S-
PphtliBgata, IS, 43+ 40, 47- UlTepa* 47.
Plilihda^ )S+ t'ltamn, -17, 59,
PuroLita, I 4, 53. ITttiynarnavptAla* i I* .’S-iS.
UttftniL, 47.
KitL^luii nliisii, fl. Ultnr£patha+ 33.
11
( . Uttafn Rimicharitaj 0+
Rajasi"!l At i 9. Urvftsl+ 9, 34+
RAkehaea, 14, 33+ 54.
Haia, 5, 19* 55, 59, 01+ V£bana* 50+
1+llC nuvall, 0. Vaiiolca, S+ 5 l.
Huklia, (if 52. Vaiaftklia, 47+ 48+
Rjviâta, 43, 47. Va%a, 14,33*55.
Koiidra, 19, 59. * Yu jralcpn, 17
Rachata, IS, 14, 35, 38+ 53, 54, Vjlhlikas, 18+ 33+
llultminTj. 4. Vaflga, LS, 33,
H(ipa, S4. Vafttaiifi, ] 5.
Yilsudeva, 54.
S&chlkfta5frfraf 13+ 43, 47. Yusuki, 33.
âhadcva, 4. VaifiampftTana, 4.
S»kar 15. 33. VtbtatEa IU, 59+ (10.
Sukiimstliv. 0, icliLl«ip 47.
Samanaia, 14, 43+ 40, VidjAdbara, 14, 53+ 00,
S&oi^pda, 48. Vikrti+ 3,
£Smba> 4. Ymdtija* 15+ 52.
^ndtbarBhiKiit, 54. VTra, 10,59.
Sub vn( Bara, 14-, 53, YiflhBp+ 5. 54,
8ftnta+ 5HJ, 00. Vidvnkarmfl, 35.
3arvajflar 40. \'r(li]ii:t‘J-.LlabliaiiiikaJ 18.
Saint*, 11, Li, 14* 35, 38,53+ 55, Vrddhi, 14,15, ei.
Satlvika* 19, Vj iisa, 4-
SaE vablit&mu, 4,
Satj a, 8+ 51, Yakahn, 14, 54,
Sillily** 15+ Vava, 2&^28* 39,
Silparatrm, 5, 5. 9+ 19, 31. Yavana, 3S, 33.
Siva, 5r 14+ JO, Yudhi^tlmaj 4.
CENTRAL LIBRARY
INDEX TO CHAPTERS ON (MAGE MAKING

CENTRAL LIBRARY
INDEX
Aehyuta, 30, Oilva, 100,

Arliti, Di>. Hrahma, 05, 6&, 69* T2, 84, 3&*
AJitya* 9t, 05 86* I ] 4.
Aântya, 05. Brnhmap^liQ, 09, J00.
A L;horrtt 7 I. Hralimi La Ik ?h mi* ] 07.
Agm, SI, 9 . Buddlii, 102.
Aii-'itkii, >0a, 2UL. 108, ICO, rjtliHin, 01.
AiraviU.ia, 74,
A is vary a, IU t, I MU, Cholera, 1)1, ) 14.
Altrl.i, 73, Ohatraviirtiiij J 15.
Adibanj S+. 00. <’hlmiiD 97.
Amoda, Uij jf;l3, Chattirmukha, 94.
Anala, &4, Chhqndaa, W0,
Auanta, &<i, 87, JJ9. ( Eihfiia, SO.
Auginsa, 04, 05. Chitcagupta* 75*
Anifa, 94,
Am ml, 113, Diina* 102.
Ardriuldlta* 70, 7 5r 70, SO* SO, Dfimva, 1114.
Its, 110. Danavu, 95.*
AnusfcmMu S!lr Cafarja. SO.
Aparfijitfl, S7* S3. Dana, 05,
Aijiiiin* 115. lbit£r !'5r
AftLii, 06, Liîpsri, 04.
A rtha^fistra, 09, Dafitmtiia, M5,
Aruna* SO. Dnttltrwflj 1 I 5,
Afiwjha, 112, J 13, Disvft, 100,
A Bin'Ll, 9 0, rievakl, 116,
AAviu, I 16. Dhauada, 73,
AlLinrviimU, 68, OS, Dhamirveda* 90.
Ayurveda, DO, Dhauvanlari, 03, 00,
Charm*. 72. 75.06, 00. 100* 101,
102.
DhaJriikull, 03, dm riuati Astra, 00.
Eihadraj Titbit, 100, 107, Dhrtaragtra, 100*
Bhiiâvfflu, 101. Dhrli, 34* 102,
UIlhûarJ■ ], 78, hhiLii-ji, 94, D5t
Bhiumra, 7\ 72t K$, SI, DhumOrnii, 75,
, , *
]| ti:+ rjiUi, 1 15. Dikptla, 100.
8bftUftia» 91. Iljuanâ* 113*
Ithnviphyn. Maim* 95. Dili, 95.
HEiTma, 07.
BhFrfu( 04* 05. \ 16* Earth Goddam* 04 87 104
liU, 55. 110,
(L2S)
CENTRAL LIBRARY
1'2G iNm-: \
Fever, 98. KriyS, 102.

Krodbk, 95.
Gadfi, ]03, 1 1 ], 111. K]-«bnn, 101, 1 lTiF 110,
(Jnliii, ! 09, KiiTitura, £>3.
KuriM, 115.
GnnÛj 77+ Knvera, 73, 7S, 79,99, 109, tL3.
Gftnu.fft, Oft* 69, SO* 1 l + , HO.
Ganrfj 77- M3.
GaurJ^vara, Hi!. Lajjl, 102.
Giyalrl, S+, SO, BtK I.aWki i man ft, | | 5.
Gulia, 93. Latshml* 7 1, Si, 1)7, ] 02, 105,
• 100, 107, 11 +
11 jilii^Lij BUj 115. Ltiiâ, 99, 100.
H*ri, 07, 09, $4, 101. H>3, HJG, [jukapala, 100,
107, 111, 1 ’ K Hi,
JtlayagrTvn, L05, I I k Mfcda£aklii 90.
1I irany ak:iii |tU, LO:. I0rth
] I iratiyitkHh-i, 101-. Mnrlbueudftnaj ]07T
H Liliana, 113. Mfl^lliVAO, 7 t+
Muhddevftj 05, 71, 87,
InJm, C7, 95, 03. MahalcBla, S+.
Tiina, 7 1 h S l, HIT. Mahaivar*, 71, 72, 95, 20, 107,
Tfiitva, U3. 1 09r
ItiliAsa, Off. Mnbl, 85, 9Efrh
MLilli mfL, 1 | 3.
Ja^nlT, SO. Mukaia, 77( SO, 07.
Jairnilhi, I la. Manibhadra, 90.
jaitirdana, ti5, 103. JOB, 115. Maim, SO, 92, 99-
Java, S7, SS, N2, 113. Mnrut, SO.
Jayb LuL'^hml, 107 + Mati* 102.
J ayanta, 05. Matsya, 1:8.
Ja^ aittl, 87, SS. Medha, 102-
.1 n&fut, 101, Mfmaiimii, 09+
Jyotiija, Oft. Moon, 83,
JyolfiDfi, 00. Mrgn, 90,
Myga, SO,
K KaI rit, flfi. Mtini, 95.
KiitnOLri, 100.
KiU, 75, 7 0. 83, 96. 102. NaUnlii, | 10,
KilUnliri, 75, &+, NoImIimvcm, 9|j.
KalsL-avl rft, BSk Xandaka, 70.
Kama, 90, 90. Nandi, B0.
KiiiiiuvutAviU, 11 3+ Nandivuktfa, 7 \.
Kapibd 05, 99t I 14+ Niiftt, 00, 3(5,
Kistbi, 95+ Kimeiiiilia, 05, 1(0, 103+
KiVjyaj'a, Bri. NfirHyiftOa, EOl. [ 15.
Kestvii. 107 + Niialyjis, 7 2, 7 3.
K_elua 91 ■ NidrAj 00.
KhoM, 95. Nirfti, 81, S2, S3.
Klnaha, 73. Nirukta, 90.
Kuti, 34, LOi- Nfciibba, 103, 114.
CENTRAL LIBRARY
INDEX 127
Nrlyaîm, 00. flakra, 73, 74, Sh 05, !0S# I 13.

Nyiya, 09. Hiiiiti, £0, 06.
5 fin) *ved a. OS.
Padmandblia, 105, III. Sfitnh.L, I L6.
Fails, llfi, Sa^bbu, 7!, 74, hi, b*t 97,
Psilhkti* SO. Sarijkiarsbatia, 70, 75, 70, 07, 90,
PaftohaT ;Ura* list. !IIS, 106, 111, 110.
Paivatt, 51. M. S-lihklii a, 09.
PiiSiLpata, $M). Sani, 9].
PaLsiMjala, !>W. SaiitiliiH (Lri>u)h 7 I ( U1 i.
Pfcvnna, 83, I ] 3. Sinii, iOi,
Pliskvcda, 31!), « Snptndbitu, Oik
Pllldika, 100. SmntOTlI, 84, 56, 07.
Pii’Lcnla. SO. Karvji, 87.
Prebh&a, y I. £ii-l Ni, hO, 110-
PrfidbB, US. Âljilintu, 90.
Pradjumna, 70, 7 7, SU, 1 | 2, 113. Sattfighn:!, IIS-
110. guiya, 10^.
Prajflpnti, 94, 95. 97* Oil. Satyabljimfi, MO.
PrfiUmyii, I 13, SaiiTTiyn, 05.
PrakNl, 7 2. 70, Bl. S&varna Mann, 02.
Prflmoda, 112, IIS. SSvrtrJ, 85.
Prtpfci, 110 Seehu, 86, III,
Priiij, on. Siddbi, 102, 113.
Fftbu, I 16* Sikslin, 97.
Purina, 911. SiiphtfeS, 05.
Farojava, 06, Siva, 05, 7 k 7 2t Sk
Pi] rush a, l?r, SJ. Ska, S3. 97, I 13.
PCUllklra, flti, M I. Skandu, 93.
Pugfel, 8 V. Sky, S5.
Smrli, 162.
fUhuF Ok Soina. 9 I-. 00.
Hfijafirk 107. Smihiha, S 1, 162*
Rajfi?, SO. s raja, 90.
RStdh, 114, l tfl, t 1C. 3rV, Il k
Rati, 77, 00. 3ra1 i, '0 ■j
-WlB
Jtnvi, 50. Subbadra, 112, 113,

Rddfai, 70. Sukra., 91,
Rovnnia, 50, 9- . fill, 75.
ifcveda, 08, 98. Rumania, 115,
RikÛnLliu, SO, Sn p.'trria. 811,
Itiidm, 67, 70, 7 1, 94. 05, 90, Stimbbl, 05.
1] k Surys, 50, 92, P5, 1 CIO, 100.
RLikmii.il, llfi, dnsrika, 97.
ROpa-Sumpad, 73. SiivHndtitMl, 8y.
Svibi, SJ
jflachl, 73, SI. Svar^ji LakshmT, 107.
KjnlLKriv.il, 71.
S&Jhya, 04, 95. TaTa, 50,
S:ilIvojSI ii, 7 k Tup*?, 102.
SatmiLcva. L ] rfi-. Tarknbya, 80, 1 13.
CENTRAL LIBRARY
12* INDEX
TnlpiiTii^htl, 71, Yuvii, SI, 83, tM> 9IY

Tiitiihurn, 67, SS, Vidas, 81, S2. St, SO, 98, 102,
r hhIj ti, 102. 105.
Trimnuiiv, 90. Vijav**S7, *8* M2+ 1 IS.
Triîibh, S9r 95.
Trii’ibnmii, I li 1-. Vinifivaik», 94, tins
TrjnTpfcaka, 67. Vlrabliailtti, 1HS,
Yirmlii, 109.
t Tiiavnkt ra, 7 I. S1, 63, 109, I 13.
Unhmk, 60. Vitfktm, 93
Vishnu, 05, 08, 70, 70, 7 9. 60t
Vilely 90. * 84. SO, 87, 03, 93, 9 1, 95, 97.
YaJati, 10L 102, 104, JOfi, HI, 115,
Vakil, 90. I 10.
Vnlimi, SI, 9S. Yiivndww, 94-
Vuiknnfrlik, 107. 113 Visul;a:Tii5, ft
VairR^ya, 101. Viavarupa, 107, 1 3 4.
Vm£affipiyan&J 115, Vrhas^Mili, '■ 1 ■ 95.
Vala, 1 10. VfhfttT, 89.
Vilmlki, 115. VfkodnT*, I 15.
Vnmadevij 71. 4'ran, ftO.
Yflmnna, 114. Vvilsft, 115.
Vuilii^S, 103, 101, 114. VyavflfijBp 101.
Yareliati, 00. VyumaT 90, 100, 101.
Vanina, 73, 70, 77,76, SO, 0 1, 95t
97, 99, JO9, 1 15.r Vajtiu. 102.
VurUhTi 97, Yo-jualiitn, 112, 113.
'"fliitva, 1 1 3, Yajnrveda* 06,
Vasa. 94. YaksJia, 7 9.
VoEtibbadra, 112* 113- Yamk, 7 3, 7 lT 7 5, 70, SO, 92. 90,
VaKii Dliari, 94, 109, 113.
Vfimide™, 70, 74, 77T SO, 93, 9J, Yamuna, 77, 78.
I 10, lllr 112, 1 13. YaSodi, 110,
Vnsuki, 72. YudiBlithira, 115.
Vita+ 81, S2. Ytij’iulhRTia, 1 10.
CENTRAL LIBRARY
ERRATA
p. 3 line 22 read 'H For tho sight of the worlds ITo
exists with " instead of " For
seeing the worlds (He) possesses
P- 3 line 26 read ££ artist" instcadof "artists”
P- 5 line 10 read ** paintingand image making"
instead of £< painting "
r >
5J line 16 read " might h' instead of " would M
i * line 20 read "painting and image making seem
to instead of " painting must
8 line G read " genre11 instead of £I gentry"
t* Footnote read “Laafer" instead of M Dauffer "
P- 9 line 9 read l[ Raurava " instead of " Rauraa "
t r lt line 21 read '* seen)’ " instead of /1 seen ”
1 1
»f Footnote read " Laffer " instead of " Lauffer
> * 1( Footnote read " *) Greek " instead of " Greek "
p. 11 line 19 read “ namely, what influence " instead of
1 £ namely,1 ’
t, tr lino 33 read " men astrologically determined,"
instead ol ** men /1
p. 38 line 1 lead "toe” instead of " toes "
p, 49 line 19 read " robbing) the--.lustrous." instead of
robbing the.*.lustrous).11
{>. 43 line 1*2 read " '' instead of "
p. 4-1 Footnote 1 Omit "one"
p. GO lino 21 read ,f palace " instead of " place "
JT „ line 28 rend ** j\o." ins tea! of ££ a.g/1
p. G5 lino 20 read rrornaments/* instead of ornaments
j, „ line 1G road " mottled " instead of f< matted 11
)>. 70 line 33 read " culling oft " instead of "cutting of"
CENTRAL LIBRARY
11 nillATA
p* 71 Footnote read '■ r.t-, tejas ’ instead of " tight

tcjas "
I> 87 litie 28 road " Jn>n and Vijayn" instead of ,f Jajrft
and Vijftj-a ,p
pr 88 Sines 1 and 3 read PJ
p, 10 J line 23 ' 'Dhrtarrishh :i ' instead of ^'Dliftaritptra0
it
4
I
if
i
i
-1

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CENTRAL LIBRARY

TH li YISH N UDU AR MOTTARA

A Treatise on Indian Painting and

Second Revised and Enlarged Edition

CALCUTTA UNIVERSITY PRESS

it tub cjuLcdtt* UNivkinn fa£iir afftn. fucmt.

a*g. -W 6100—Juury. 103&-Kft.

' It i ■ point# it:4Prfh fti\rne*i ntH‘tkc um l «(rtaiiirM fluttering

The VipbqiudhnrmDttarii a Supplement nr Appendix

1 P*rt TTI, Cb. 16, tvtk* MO,

The Yinhi^udhai znoltnr;i admits in several place®*

r Carl HI. (,'h+ Afl, r«rifi

E^tk1i«t, Djrutilio of ilia Kalf A^«. lmtL>.r mil uji t mi,

ugc, wa5 of great importance in tin* life oT the citizen,

(del meat ion and articulation of form), the connoisseurs

Raljd&valf, RaghmariaaEi, Sakimialu. and t 'ilam-Kama-

*ul0H ol the road, he erected lattice-work, and covered all

1 J'*c*kd Vol. V[h [,p. JVj ttnl Llit.

they were of oblong, ^quure and round shape nnd the

1 SiJfMtr4tu4, Cli■ iil, rettef HB-Mf.

princess YOsrivadattiLj with whom he had eloped, are

1 LmUfToi, I. c,, p. 1*W5,

of the treatise on painting in the Vishnudharmott&ra

Tliis interest in the living individuality rd tin1 single

and riQ in coutratlistincliorv lo ihe measurement

* JltAS* V<JT VIJ, JS7S. ^ \\

■ if. ai]ptn,lHi»H Ch 04, it. tlO-tlQ.

Together with prarnttyn and and vfddhit Hip

* \ plmln taken b«rc» realorulton oJ Qua of tlif rcmiilL' patur.-d #h ih^

* I'rof. B. M. Eamt drawn out aitenliuu to mv L«|id|-ltrl (Ij.-

* Silrlntba, CU, AH, JlV'lttt.

cjilltrd vafratcpa*1 If then boiled in a mud vessel with

should 1>e? used." ’ The modelling capacity of the outline

' i’jm ux di 37, £7. Ni^rtlakU*.

lotus and wears a garment of that colour* if represented

F»rl III. Ch. Hi, DftMi l-s

1 ViilRHirilipt^turv ChT AS. Vfriiti 10-12.

The abstract ami the realistic vision, which, as a rule,

deify nearby (cf. p. 31 ;iiul p.66) to he in actual eoiuavl with

The "yd- lit rad- ike nature of jthe lotus 1pedestal is

Says the ViBhQHdharmottara with regard to the

2C. C-.VNON OF PROPORTIONS

1T Part III, Ch 2, Verses 1-9,

known, (oh) beat of the hhrgu.-i, (n man) knows dancing

2. Part HI, Ch, 27, Verses 7-26.

(Oh) king. [ shall now speak to you about the prepa­

1'fcrt III. CL. 3Tt

Tin* (utiKir of UuTigs ntvfi, should bf |' ULiit*,<l reHOMibling

3 Part Ml, Ch. 35. Verses t-18+

d:tid Henceforth I slull s|K?i»k to you,

ij|ekHii Iwiiutiful woinHM. taking tlie juice of the mango tree.

tj: \nsj,\TK >N

to the throat. The throat should be ouc-third of a Wita

Part III, Ch. 36.

Mfii kajid<j> a said . The I lead measures I-2 tntytiltis in

5, Part 111* Ch 37, Verses 1-17.

Mfnkapdcy m said : As then; are five types of men,

' (JF* Mini.- a ||utic.

An eye should he of the form of a bow or (like)

1 Prt TTI, Cb. 16, tvtk MO,

1 J'ckd Vol. V[h [,p. JVj ttnl Llit.

(Oh) king. [ shall now speak to you about the prepa

' TfaamtLan Purvfti»r J oogjul1 ifjp Tor I'^nUnni. <7- yfftrt

Cft £ ■ I p u rl r a k Clu. U1,.

Oh destroyer of enemies, their significance has been ex