Theory of Citrasutras in Indian Painting

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A01=Isabella Nardi
Abhaya Mudra
art
Author_Isabella Nardi
Barley Grains
bhava
Broken Tusk
Category=ABA
Category=GTM
Category=JB
Category=JBCC
Category=QD
Crimson
DMP
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extant
Fresco Secco
Frontal Stances
iconographic analysis
Indian Art
Indian Painting
King Bhoja
Lion's Ear
Lion’s Ear
literature
Miniature Painting
mughal
Mughal Painting
mural
Nava Tala
painter textual interpretation methods
paintings
proportional systems painting
rasa
Rasa Theory
rasa theory aesthetics
Red Lotus
Red Ochre
Sanskrit art treatises
secondary
Secondary Colours
sthayi
Sthayi Bhava
Tala Measurement
traditional art pedagogy
Varada Mudra
Vice Versa
visual culture India
Wooden Plaque
Yellow Ochre
Yellow Orpiment

Product details

  • ISBN 9781138990258
  • Weight: 453g
  • Dimensions: 156 x 234mm
  • Publication Date: 20 Jun 2016
  • Publisher: Taylor & Francis Ltd
  • Publication City/Country: GB
  • Product Form: Paperback
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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 Nardi offers 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.

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