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

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the musicians along with the cut-throats, charlatans and
rascals.⁸⁹
And, yet the Śilpa, the Saṅgīta and the Nāṭya etc., which
have all reputed Ṛṣis of hoary antiquity, as their founders,
owed their birth to divine inspiration. We have, therefore, here,
another set of apparent paradoxes of Indian culture, which should
provoke serious enquiry.
Very elaborate descriptions are given of the merits (Phala-
śruti and Artha-vāda) for raising pious foundations, or erecting
sacred structures such as the dedication of an image that would
accrue on the part of the donor, (dānapati).⁹⁰ Arts of music and
“सूत्रधरो द्विजानान्तु शापेन पतितो भुवि।
शीघ्रञ्च यज्ञकाष्ठानि न ददौ तेन हेतुना॥” १, ३
‘পয়ার। যজ্ঞকাষ্ঠ শীঘ্র দান না করে ব্রাহ্মণে।
শাপে সূত্রধর সে পতিত এ কারণে॥’ ২
“व्यक्ति(ति)क्रमेण चित्राणां सदयश्चित्रकरस्तथा।
पतितो ब्रह्मशापेन ब्राह्मणानाञ्च कोपतः॥” १, ३
‘পয়ার। ক্রমভিন্ন চিত্রদোষে জানি চিত্রকরে।
শাপ দিয়া পতিত করিল বিপ্রবরে॥’ ২
98. For example, see the rare old Nīti-Śāstra, Cākṣuṣīyam, fragments
of which have been traced and published for the first time—A. S. Ramanath
Ayyar : Chaksusiyam—an Arthasastra. JBORS Vol. XI, pp. 81—84.
90. तथा हि—श्रीगोपालभट्टकृते ‘श्रीहरिभक्तिविलासे’—१८ विलासे—श्रीमूर्चाविर्भावमाहात्म्ये—
‘विष्णुधर्मोत्तरे। देवस्य प्रतिमायान्तु यावन्तः परमाणवः; तावद्वर्षसहस्राणि विष्णुलोके महीयते।’
तथा—‘श्री हरि०— १८ विलासे—श्रीमूर्ति प्रतिष्ठामाहात्म्ये—
‘मात्स्ये। प्रतिष्ठायाः सुराणां च देवतार्चातृकीर्त्तनात्।
दैवयज्ञोत्सवाच्चापि बन्धनेन विमुच्यते॥’
तथा—‘संबुद्धाभाषित-प्रतिमालक्षण-विवरणम्’
यावन्तः परमाणवो भगवत्तत्त्वेषु बिम्बेषु वा।
तत्क्षणाद्दिंवि भूतले च नियतं तावन्ति—॥
――――संपदोऽखिला
भुक्त्वा च सर्वं सुखम्।
प्रान्ते जन्मजरावपत्तिरहितं
प्राप्नोति बौद्धं पदम्॥