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Citra-Kala in Jain Canonical Literature
289
Vğdanaka 56 (abasement) not mentioned in any other lists. Here, the bhayānaka has been considered as a variation of raudra.
From the various accounts of picture galleries we come to know that the artists had their guilds (cittagāra senim). They were mostly patronized by the kings and rich people. There is hardly any mention in the agamas whether kings were maintaining court painters. They were instead called on to perform certain tasks for which they were honoured and paid lavishly (pritidāna). However, we have definite evidences that the artists were also in the service of the kings throughout the year. Kautilya's Arthaśātra says that the name of such professionals enhance the prestige of the state.57
There had been Kalācāryas to teach seventy two arts.58 But professional painters seems to have had their family tradition of learning. We have already noted the skill of painter's daughter.
The status of a painter in ancient Indian society can be judged from various parables and maxims in literature which refers either to the painter or his work. A reference to mirror-like ground on the wall has already been made in Ayasyaka Cūrni.59 The story is given to illustrate the purity of heart which should reflect virtues as painting in the mirror. The same text while explaining the various constituents of sūtra, i.e. bhāṣā, vibhāsā and vārttä, elaborate their meaning with work of a painter.60 It is stated that when a figure is drawn in the right proportion it is called bhāṣā, when its various limbs are defined than the vibhasa is attained and finally when eyes etc. are painted then värttă or annotation stage is reached. There are many such references in Āvasyaka Cūrņi and other Jaina texts.
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FOOT-NOTE The dates of the âgamic works are taken from M.A. Dhaky's “The Jina image and the Nirgrantha agamic and hymnic unagery", The Sastric Tradition in Indian Art, Heidelbery, 1985, pp. 92-108
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