ABSTRACT
On the basis of the theoretical and methodological framework of this work, the present chapter examines the way in which the citrasutras introduce painting to the readers, the myths of its origin, the meaning of the word citra, the figure of the painter and its classification. All the citrasutras explain painting in their own ways but they have many aspects in common. One of these aspects is that of the divine origin of the arts. Painting is introduced in the Citralaksaja of Nagnajit and Visjudharmottara Puraja with the narration of a myth that emphasizes the importance of traditional authorities such as Vifvakarman and Nagnajit. The chapter then analyses the meaning of the word citra according to textual sources. It will be emphasized that this word may have a different significance from its common meaning of painting, referring instead to a more theoretical connotation of ‘mental image’, that is, an image that works in the mind of the reader of a given text. This chapter also highlights the discrepancy between the figure of the painter with his characteristics as seen by the writers of the citrasutras and the painter described in secondary literature. Finally, the chapter concludes with a critical analysis of the classification of painting and its interpretations. All these aspects of painting are expounded and discussed with reference to a wide range of texts, thereby providing a reasonably comprehensive overview of the theory.
