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the Nairs in Malabar. 422 He does not, however, elucidate
the point regarding the nature of the exact relationship
between the two and the historical development of the
institution. Possibly, the ancestor worship of the Nairs
may be an off-shoot of the worship of the statues. We
have already refuted the view that the statue-houses have
been copied from Kerala.
Another specimen of fine workmanship in statuary
is supplied by the artificial elephant manufactured by king
Pradyota Mah膩sena of Avanti to capture Udayana
Vatsar膩ja. It was prepared exactly as in the description.
of a deep blue elephant given in the Hasti艣ik峁Ｄ�; and the
possession of such an elephant was reputed to bring
sovereignty to its owner king. We are not definitely told
about the material of which the elephant was carved.
2 Painting. There are many references to painting
in our works and there are significant similes describing
pictures on a canvass.鲁 Pictures were drawn on walls as
well as on panels or boards. The walls of the fire-shrine
are stated to have got fast-coloured paintings on them.* A
painter surrounded by many cups is referred to in the
颁腻谤耻诲补迟迟补.
The details about the picture depicting the denuding
of Draupadi in the D奴tav膩kya shows that the painter
looked to many particulars and minor details. Not only
was close attention paid to the dress of all the persons
portrayed, but their expression was carefully worked out
on the canvass. The portraits of Udayana and
Vasavadatta are said to be quite life-like and to show a
remarkable resemblance to the original. Courtesans had
a special room in their mansions with all the paraphernalia
required for painting. Cultured courtesans like
Vasantasen膩 were well versed in portraiture also, and
Vasantasena's representation of Carudatta as he was
passing by the road below her balcony is said to have been.
faithfully carried out. At the time of V盲tsy膩yana, every
3 Cf. 脺ru, st.
1 QJMS, XII, p. 396. 2 Pratij帽膩, pp. 9, 10-11-
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