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Shri C. Sivaramamurti was the first scholar to notice long back some of the special references to painting and some technical terms of art in Dhanapala's Tilakamanjari of Dhanapala, as testifying to the advancement of the concept of Art Criticism that obtained in Ancient India%;B and the conversations 177. Tilakamanjari,辫.374(3拢蹿.) smerabhanibhuvi mandarayana haricandanopa le ye sarasamandara kusumopahara- uparinibaddha vijnane 178. ibid.,p.41(10)--113 179. ibid.,p.41(l 1f.) --- STRATUT 77(8) - - dvari nutana pravala candana kumala dvaratorana yutaya lavi dama --- ; 304(17) haricandanapan koca lepanam --- 1 dvaratoranesu jambupravala vandanamalah --- pravalicandana malam - 1: ; 265(19ff.). AUT -vendana mala 24 of him -- ; 372(22ff.) 1 180. ibid.,p.331 (5) aciropalipta su lalitapatra lekhan svastikanabhi likhanti 1 varnasala ganavitarddika suda varnasalakana darsitanika - 181. Art Notes From Dhanapala鈥檚 Tilakamanjari, Indian Culture (A Research Journal) Vol.II, No.2,Oct.1935, pp.199-210.

528 of princes and painters and gitizens Citracaryas were rightly cited as instructive edifications, As has been noted in preceding chapters, the period was characterized by a munificent royal patronage to sculptures, painters, poets and craftsmen and all such gifted sorts. Instead of being a stray thing preserved in a museum kept aloof and diss蓹ciated from daily life, Art was an element throbbing in the very veins of active and vigourously alive in all walks of socio-cultural aspects of contemporary life. Painting was one of the important arts in the curriculum of the princes and princesses who are depicted by Dhanapala as possessing encyclopaedic knowledge about them. 182 Prince Harivahana had specialized in this art as in music, 183 and matured into a connoisseur in the fields. Similarly, in the long list of different branches of knowledge mastered by Princess Tilakamanjari, the art of painting finds the first place. Not only that, even the maid-servants of 184 185. the royal harem were expert in this art. Lots of artists, both professional and amateur, carried their pieces to 182. Tilakamanjari, p. 79 (14) kumarah | 183. ibia,p. 163 (14) visesatascitrakarmana vinavadye ca nrtyagita citradi kalasastra paradrgiya pravinata prap | 4141 harivaha no nama 184. ibid.,p.363 (11ff.) yadi ca kautukam lalacitrakarmani vinadivadye .. prthcchanam ... 1 . 185. cf. ibid., p.170(6)-- samkhi citralekha, tvam hi citrakarmani param prakarina| 22

529 such princes for criticism and appreciation. 186 Long hours were spent by the princes in discussing, with expert teachers and others well-versed in the art, the aesthetic beauty (carutvatattva) of pictures. So great was the passion for art that whole days were sometimes spent by the princes in looking at beautiful pictures of extraordinary beauties of the day, setting aside all other daily routines. The art had advanced to such an extent that nature was brought out alive on the canvass. 189 Infinite modes and varieties had developed in the art of painting. 190 186. TH (N), p.163 (18ff) enamagatya nagara nivasino vaidesikadha loka kalasu prakasayitumatmano vicaksanatamanuksana pasyanti | ; also cf. p.164, where Gandharvaka asks the prince to pass his judgment on a picture. 187. ibid.,p.177 (14拢f.) citravidyopayairanyaisca janaparamparajanita - kutuhalaiscitramavalokayi tu bhagale ralekhyasastravidbhi nagarali kaih saha vicara- yannavicaryacarutva tattvam tasyadhi vapad putrikayah rupabhaya sarita para vinodah purva hyamanayan | 188. ibid.,p.18 (10)-- kvacidanganalola iti manya nipunacitrakarai citra- patejvaropya sadara mupayani krtani rupatisayasalini namava nipala kanyakana prativimbani parityaktavyakarma divasamalokayan| - 189. ibid.,p.166 (13ff.) -- etani ca taralitani nasadvihaya eyuddiya saksatsamcalananica prakasitani paksimrga mithunani | mananyudi mani ca 1901b 1d.,p.171(17) upadarsina bahuvikalpacitrasilpena .... |

1 530 Masters of painting and other arts were employed as teachers and artisans and on festive occasions the king used to specially honour them before setting them to execute various commissions, such as producing pan portraits of princes and princesses for being sent around to various kingdoms for arranging suitable marriages. 191 The extreme humility of the artists is evinced in their proneness to inviting discussion and suggestive corrections of any possible blemishes in their executions, as in the case of Gandharvaka who asks Prince Harivahana to express 192 his frank opinion on the portrait of Tilakamanjari. At the same time he was too meticulously purposeful to incur the shortcomings resulting from insufficient knowledge, inattention during work, lack of the sense of propriety 193 and want of proper practice. A few interesting details as to the method of the painter in producing a picture are also given by Dhanapala 191. cf. Tilakamanjari, p.170(77楼.) ( alodarayah sakalanija parivara varajani citradarsana vyajena darsaya nisarga sundara krti namavani go para narendra- darakanam viddha rupani - -- - - - | ; 322 (6ff.) tamtra cam vyadupalambhasaya din mukha khyatarupa sampada rajakanyanam viddharupa - vyadara pravartitascitra krddhi rabhilikhya bhilikhyopanitanyaja samavalokayatah - mem gatah yatisaye divasah| 192. cf.ibid.,p.165(21ff.). - 193.cf.ibid.,p. 167 ( 10ff.) - tena parijnana manavadhana manucitajnata ma na mem sambhavathitumiharhati mananaih| nabhyasa catravisaya - -

531 in his beautiful, though brief, picture of Tilakamanjari who, who during her separation from Prince Harivahana when he returned to Ayodhya, engaged herself in drawing a picture of him. Close to her was placed the casket (samudga) full of brushes (varttika); an extensive board (citra-phalaka) was placed before her by the by the maids%;B during the work she paused again and again mentally visualizing anon the model transfigured in her heart and 194 ohong陇>> adding touches while comparing the effect with it. Here the accessaries like Varttika, Samudga, Citrapalaka and atype of picture called 'Viddha-rupa' are also noticed by the poet. The term 'Viddha-citra' also pecurs once. Sometimes the canvas (pata) also was used for painting and at times the wall itself served the purpose (bhitticitra). Pictures drawn on canvas appear to have been carefully rolled up and preserved in a long narrow silken sack, from which they could be drawn out and unrolled 196 when required. 195 194. Tilakamanjari,P鈥�391 (3ff.) - kadacidantika vyasta vividha vartika samudra praguni- krtyoparicarikabhih puro'va sthapita praddhani citraphala ke nipuna malicya locya makaraketu bana prapta viddha devasyaiva rupam vidvamabhilikhanti 195. ibid., p.372(14). --- - 196. cf.ibid.,p.164(6ff.) prakrstaci nakarsata prasevikayah sacalama krsya citra para mena mupanitavan| ---- ; 162(4ff.)-- tatha tatksanameva vistarita purastatamtra citraputrika dadarsa |

532 There is a reference to the difficult art of depicting emotions in the pictures; such pictures are technically known as 'Bhava-citra' or 'Rasa-citra'; the latter term being sometimes used in the sense of 'Drava-citra' also in which liquid colours are utilized. From the references to Citrasalas in the Tilakamanjari of Dhanapala, Shri C. Sivaramamurti has deduced that 198 (i) there were three ki- in nds of Citrasalas, the public art galleries, the private ones in the houses of wealthy men, noblemen and others, and the art galleries of the royal palaces; (ii) of the last, definite divisions have been made by Dhanapala; (iii) though almost every apartment in the palace was filled with pictures we have the Jalamandapa and the Antahhpura mentioned specially as containing art treasures; (iv) from a sepatate mention of the Citrasalas of the harem we are led to understand that the kings had Citrasalas of their own different from those in the queen's apartments%3B (v) apart from the art galleries of the harem there appear to have been special, though minor, Citrasalas of bedroom (Sayana-grha-citrasala). On close examination of the evidence, his conclusions appear to be slightly far-fetched. 197. Tilakamanjari, p.179 (9ff.) aviskrtaneka bhavavibhramani likhitani ke napi sadaka nirmana citrakarana vigbhittisu prativimyanita ka 198. Art Notes From Dhanapala鈥檚 Tilakamanjari, Indian Culture (A Research Journal) Vol.II, No.2, Oct.1935, pp.201-202. ---

533 Dhanapala has mentioned Cities sala [41,10; 107(14); 292(21)), Citrasalika (29,4; 265,12; 327,2), Sayana-citrasala (302,8), Sayana-citrasalika (327,1) and Citra-valabhika (302,15). These refer to: (i) the bed-chamber of King Meghavahana and Queem Madiravati in the harem of the royal =199 palace at Ayodhya; (ii) a group of Citrasalas of the Jala- 200 mandapa in the public park at Ayodhya; (iii) the Citrasalas in the royal palace in the city of Rativisala; 201 and (iv) the bed-chamber of princess Malayasundari in her pala- 202 203 ce at Kanci. Dew Vasudev Sharan Agrawal also thinks that the term 'Citrasala' connotes the bed-chamber where the king and the queen used to meet together in privacy and that many types of paintings were drawn on the walls of those chambers. Similar bed-chambers for unmarried princes and princesses were also known by such names. Later 204. on, according to Dr. Agrawal, the palaces of wealthy persons and big merchants came to be known as 'Citrasalas.' 199. 'Tilakamanjari,P. 29 (4)-- adhiruyantah pura prasadamika masya, svitrasalikayah prana- 34142541071:32412195422172114THT: vitardiko pavistam samalinya devim -- 1 200. ibid.,p. 107 (14)- atividhi maneka citrasalai jalamandapam-- 1 haricandanapan kopa lepanam --- 1 camano bhavana citrasalika rayanithara ; 292 (21拢f.) -- ranitamanina bhusana cakravalana vacalayanti citrasalikom satyama muncam ; 302 (8) pravisya bandhu sundari dvitiya sayanacitra salikayam ; 327 (2) -- citrasali kadhi rohana --- 1 ; 327 (2) arogya cam sasana cisalikayam ...| 201. ibid., p.41(10)--921133 202. ibid., p.265(12)--35931447 203. Kadambari Eka Samskritika Adhyayana,p.61. 204. ibid.

534 The walls and pillars of the bed-chambers and houses definitely had pictures painted on them for luxurious decoration and entertainment. In the modern times also it is customary to decorate both the innermost and outer apartments with printed and painted pictures suitably framed and fixed as bracketed panels on the top of the walls. But these are not meant to be 'Art Galleries'. However, it should be conceded that the luxuriant abundance and variety of such paintings were responsible for the nomenclatures like Citrasala, Citrasalika, Sayana-citrasala and Sayanacitrasalika, all of which are mere synonyms and do not connote different types of art galleries. In the case of the Citrasalas of the city of Rativisala, we are not sure whether the poet referred to the bed-chambers or to the picture galleries. Only in one case can we be justified to take the reference as indicating an 'Art Gallery' proper and that is the reference regarding the Jalamandapa which is said to have had numerous Citrasalas. Being situated in a cool place in a public park,it is possible that pictures of famous painters were exhibited therein for the citizens. The term 'Citra-valabhika' also seems to be a 205. Cf. PM (N), p. 74 ( 16 ) pradipa prakasita prasastabhitticitre 74(14)-- patrabhajha citrita camikara stambha ----- 1 ;

585 synonym for the word 'Citrasala', as the word 'ValabhI',of which the word 'Valabhika' is but a diminutive, denotes, according to the lexicographer Rasabha, the topmost apartment of a palace. The word 'Valabhi' is noticed by Puru- sottamadeva in the sense of 'Devigrha' in his Trikandase- 208 207 206 sa-kosa, and it has been interpreted as 'a temple'; it might as well mean 'the chief-queen's apartment'. There is a mention of a'Javanika-pata' in the Jain temple at Mount Ekasrnga Such curtains, as Shri C.Siva- 209. ramamurti observes, were generally painted ones and adds that, according to Mr. P. Brown and Dr, A.K.Coomaraswami, they are to be found 鈻� even today in Nepal and Tibet.