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

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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.
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