रूपमण्डन एवं देवमूर्त्ति-प्रकरणम् (मण्डन सूत्रधार - प्राचीन मूर्तिकला एवं देव-प्रतिमा लक्षण सटीक)

( 9 ) सत्योक्तं शौनकं तन्त्रं वासिष्ठं ज्ञानसागरं । स्वायम्भुवं कपिलं च तार्क्ष्यं नारायणीयकम् ॥ ४ ॥ आत्रेयं नारसिंहाख्यमानन्दाख्यं तथारुणकम् । बौधायनं तथार्षं तु विश्वोक्तं तस्य सारतः ॥ ५ ॥ Another account given in the Viśvakarma-prakāśa²⁷, and preserved in many versions is evidently a compilation of a later date :— इति प्रोक्तं वास्तुशास्त्रं पूर्वे गर्गाय धीमते । गर्गात्पराशरः प्राप्तस्तस्मात्प्राप्तो बृहद्रथः ॥ बृहद्रथाद्विश्वकर्मा प्राप्तवान् वास्तुशास्त्रकम् । स एव विश्वकर्मा जगतो हितायाकथयत्पुनः ॥ वास्तुदेवादिषु पुनर्भूर्लोकं भक्तितोऽब्रवीत् । Among the Brāhmaṇic masters of Vāstu and Śilpa-śāstras, the names of Viśvakarman and Maya are mentioned very often. The Viṣṇudharmottaram²⁸ gives the traditional or mythical origin of the art of painting, and its canons, (i. e., Citrasūtram) :—how the sage Nārāyaṇa first painted on earth with the juice of mango leaf the figure of a superbly beautiful damsel, and for humiliating the heavenly apsarasas he invested her with life. Brought into being, on urvī, (earth) she was called Urvaśī (earth-born). The great sage having thus created the art of painting (Citra), taught Viśvakarman its canons. The Citralakṣaṇam²⁹ᵃ of Nagnajit mentions Viśvakarman, Prahlāda and Nagnajit, among the masters of painting,—after the adoration of gods and goddesses (namaskāras), and the benediction 27. Śrī-Viśvakarmaprakāśa, with Bhāṣāṭīkā—printed from the Śrī-veṅkaṭeśvara Press, Bombay ; also lithographed from Siddha-Vināyaka Yantra, Benares. See, also Notes 41, 42 post. 28. Śrī-Viṣṇudharmottaram. Part III, chap. 35. 29a. Berthold Laufer : Dokumente der indischen Kunst. Erstes Heft. Maleri : ‘Das Citralakṣaṇa’. Leipzig, 1913. D—2