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Sanskrit texts discuss in detail the style, effectiveness of different colours, desirable combinations that could be brought out by mixing various pigments and methodology of preparing the base for application of colors and for preparation of colors from different natural sources in general terms.
Painting of Brahma and Shiva as Bhairava. The god Brahma, while most commonly depicted with four heads, is also mentioned with five heads in Hindu literature.According to one legend, after Brahma gave birth to the first woman with Sarasvati, named Shatarupa, he grew infatuated by her, despite the protests of sages that she was his biological daughter.
Three colors are used in Manjusha Art; In Manjusha Art Borders are very Important. Manjusha Art is a Line drawing Art. Manjusha Art is a Folk Art. Manjusha Art is a Scroll Painting. Manjusha Art is completely based on the folklore of Bihula-Bishari. In Manjusha Art Characters are displayed as X letter of English Alphabets.
The Agama texts describe twenty-five forms of Shiva, offering specifications in which the deity is to be represented. For each form, the attire, ornaments, posture, weapons, as well as the other accessories associated with the form are described, along with associated deities and objects.
It is the function of Prakṛti (nature, consort of Shiva) and Parā Śaktī. This face of Śiva is Buddhi rūpa (Intellect) and it represents Pūrṇagiri Pīṭha. Banaliṅgam. There are one billion mantras trying to describe this face of Śiva. The direction of this face is South and it is smoky (Dhumra varṇa) in color.
Shiva wears silk and tiger skin garments and various ornament and is deep red in colour. [4] He may be depicted four or eight armed. In the four-armed image, Shiva holds a pasha (noose) in one of the right hands and the elephant tusk in a left arm; the other arms hold the outstretched skin of the elephant.
Raja Balwant Singh’s Vision of Krishna and Radha by Nainsukh. Jasrota, c. 1745-1750. Metropolitan Museum of Art. The Kangra art style originated in Guler State, a small hill princely state in the Lower Himalayas in the first half of the 18th century when a family of Kashmiri painters trained in the Mughal painting style sought shelter at the court of Raja Dalip Singh (r. 1695–1741) of Guler.
Rudra's identification with Shiva was put in writing for the first time in Shvetashvatara Upanishad and later in Yajurveda linked Taittiriya Samhita (S.4.5.1), in the Shata Rudriya section. The Vajasneya samhita (S. 3.63) also co-equals Shiva with Rudra by citing the mantra, “ tam Shiva namasi”, meaning “I bow to you, Shiva”.