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

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dubious—similar or same names occurring repeatedly. Of some
names we are not sure if they are personal names or the titles of
works.
The Tibetan text, dpag bsam ljon bzaṅ³³ of Lama Sum-pa
mk'an-po ye-śes dpal-abyor (1702-1775), traces the origin of the
art of painting to Nagnajit:—how he painted the figure of a dead
Brahmin child and how the god, Brahman invested it with life.
Later on the art of painting was propagated through Viśvakarman,
and Ṛṣi Ātreya who discovered calligraphy. The latter is known
from Tibetan sources, as the author of an iconographic work, which
is preserved in translation, in the Tanjur³⁴.
Names of a few more authorities or masters are also known
from (stray mentions in) other sources. Their works are existent
mostly in Mss.
There is a Śilpa-śāstra ascribed to Kāśyapa, the Kāśyap-
īya³⁵, also called the Aṁśumad-bheda. It has been edited³⁶.
Kāśyapa is said to have learnt this science from Śiva.
The Agastya Sakalādhikāra is ascribed to Agastya³⁷.
"The work entitled Sacalādhicāra, an excellent but rather volumi-
nous performance, is attributed to Agastya, a sage whose history
occupies a conspicuous place in the Purāṇas. Some few sections
only of this work are to be now met with; and the portion which
33. Pag bsam ljon bzaṅ. Ed., Saratchandra Das. Calcutta, 1908.
p. 136ff.
34. Pratimānalakṣaṇa-nāma, classed under Tanjur. Section Mdo
—hgrel (Sūtra-vṛtti), Śilpa-vidyā-śāstras.
35. For Mss. of Kāśyapīya, see Catalogue Vol. XXII. Oriental Mss.
Library, Madras., pp. 8755ff. Nos. 13032, 13033. Also, Oppert: List of
Sanskrit Mss. in Private Libraries of South India, Vol. II, p. 395, No. 6336.
36. Kāśyapīya, quoted by Varāhamihira. Edited in Ānandāśram
Skt. Series, from Poona.
37. See P. K. Acharya: Indian Architecture according to Mānasāra-
śilpaśāstra. p. 100. For Mss. of the work, see Orient. Mss. Libr.,