The Theory of Citrasutras in Indian Painting A Critical Re-evaluation of their Uses and Interpretations

The study of technical treatises in the Indian art has increasingly attracted much interest. This work puts forward a critical re-examination of the key Indian concepts of painting described in the Sanskrit treatises, called "citrasutras." In an in-depth and systematic analysis of the texts on the theory of Indian painting, it critically examines the different ways in which the texts have been interpreted and used in the study of Indian painting, and suggests a new approach to reading and understanding their concepts. Contrary to previous publications on the subject, it is argued that the intended use of such texts as a standard of critique largely failed due to a fundamental misconceptualization of the significance of text for Indian painters.
This work offers an original, fresh approach to research in this field by drawing on the experiences of painters, who are considered as a valid source of knowledge for our understanding of the "citrasutras," and provides a new conceptual framework for understanding the interlinkages between textual sources and the practice of Indian painting. Filling a significant gap in Indian scholarship, Nardi's study will appeal to those studying Indian painting and Indian art in general.

The study of technical treatises in Indian art has increasingly attracted much interest. This work puts forward a critical re-examination of the key Indian concepts of painting described in the Sanskrit treatises, called citrasutras. In an in-depth and systematic analysis of the texts on the theory of Indian painting, it critically examines the different ways in which the texts have been interpreted and used in the study of Indian painting, and suggests a new approach to reading and understanding their concepts. Contrary to previous publications on the subject, it is argued that the intended use of such texts as a standard of critique largely failed due to a fundamental misconceptualization of the significance of ‘text’ for Indian painters. Isabella Nardioffers an original approach to research in this field by drawing on the experiences of painters, who are considered as a valid source of knowledge for our understanding of the citrasutras, and provides a new conceptual framework for understanding the interlinkages between textual sources and the practice of Indian painting. Filling a significant gap in Indian scholarship, Nardi's study will appeal to those studying Indian painting and Indian art in general.

List of Tables.List of Figures.Acknowledgements.Notes on Transcription.Abbreviations and Editions of Major Texts.Introduction1. The Texts, their Translations and Interpretation2. The Traditional Indian Concept of Painting 3. Systems of Measurement and Proportion4. Talamana and Lambamana Systems5. Stances, Hand and Leg Postures6. Iconography 7. Colors, Plaster, Brushes and the Process of Painting8. The Theory of Rasa.Conclusions.Appendix I.Appendix II Appendix III. Glossary.Bibliography