Nardi - The theory of Citrasūtras in Indian painting: a critical re-evaluation of their uses and interpretations
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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 citrastras. 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. Scholars have hitherto remained blinded by the unquestioned belief that texts are to be considered prescriptive compilations or guides to be literally followed. 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 citrastras, and provides a new conceptual framework for understanding the interlinkages between textual sources and the practice of Indian painting.
Isabella Nardi is A.W. Mellon Art History Fellow at the Metropolitan Museum of Art, New York. She was previously Coordinator and Lecturer of Indian Aesthetics at Jawaharlal Nehru University, New Delhi. Her research interests focus upon the relationship between text and practice in the Indian pictorial and sculptural traditions.
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THE THEORY OF CITRASTRAS IN INDIAN PAINTING
A critical re-evaluation of their uses and interpretations
Isabella Nardi
First published 2006
by Routledge
2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN
Simultaneously published in the USA and Canada
by Routledge
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This edition published in the Taylor & Francis e-Library, 2007.
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2006 Isabella Nardi
All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers.
British Library Cataloguing in Publication Data
A catalogue record for this book is available from the British Library
Library of Congress Cataloging in Publication Data
Nardi, Isabella, 1970
The theory of Citrasutras in Indian painting: a critical re-evaluation of their uses and interpretations/Isabella Nardi.
p. cm.
Includes bibliographical references and index.
1. Painting, IndicTechnique. 2. Painting, HinduTechnique. 3. Puranas. Visnudharmottarapurana. Citrasutra. I. Title.
ND1001.N38 2006
759.954dc22 2005033451
ISBN 0-203-97010-1 Master e-book ISBN
ISBN10: 0-415-39195-4 (hbk)
ISBN10: 0-203-97010-1 (ebk)
ISBN13: 978-0-415-39195-5 (hbk)
ISBN13: 978-0-203-97010-2 (ebk)
This thesis would not have been possible without the kind assistance and support of various people. I would like to acknowledge, first of all, the artists and academics who were able to devote some of their time to discussing the theory and practice of Indian painting and patiently answering all my questions. Many thanks are due to Vinod Bhardvaj and Jatin Das in New Delhi, Lalit Sharma, Shail Choyal and his family, Dr Vishnu Mali, Chiranjeev Lal Sharma, Ghanshyam Kanyalalji Sharma, Hemant Chitrakar, Sukhlal Jangid and Ramesh Chandr Jangid in Udaipur and Nathdvara, Kripal Singh Shekhavat, Ram Prasad Sharma and his family and Pramod Sharma in Jaipur, Gopal Joshi in Bhilvara, Ram Gopal Joshi in Chittor, Ramesh Mohanty, Sri Harihar Moharana, Binod Maharana and Sudarsan Mohapatra in Orissa and finally, Kalamani T. Venkatesaraja and R. Emberumal in Tanjore.
In London, I would like to give particular thanks to my supervisor Dr Giles Tillotson for his valuable suggestions, Dr Vibhuti Sachdev for sharing with me her ideas and knowledge of vastuvidya, Dr Renate Sohnen-Thieme for helping me to improve my knowledge of Sanskrit and Martin Menski for commenting on some of the drafts.
As for institutions, my thanks go to the helpful staff at the SOAS Library, especially Marina Chellini, the British Library and the National Art Library in London, the Craft Museum in New Delhi and the South Zone Cultural Centre in Tanjore. The support given by the grants from SOAS and the Central Research Fund of the University of London are duly acknowledged.
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