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Besides the leaf-design (patralekha) and Svastika noted above, Dhanapala has also mentioned the Rangavali, which Shri C. Sivaramamurti seems to understand in the 210 sense of 'colour creeper' 20" It should rather mean 'a pattern of colours'. This type of design-drawing is prevalent even to this date almost all over India under various names, such as, 'Rangali' in Gujarat, Maharashtra and possibly in 206 cf. the Namacandrika Comm. on Amarakosha, II, ii, 15 where he is quoted as: suddhante vala bhi canda sale saudhordhva vesmani | 207. Trikanda-shesha-kosa of Purusottama, II, 11;5: devigrha tu valabhi 208. (P.T.0.) F

536 Rajasthan, as Alphona in Bengal, and as Kolam in South 212 India. Dhanapala informs us that the floor of the pedestal for the purpose was first smeared with sandal paste and then drawings of Svastika in colours consisting of 213 powdered pearls were laid on it with dexterous care. Shri C. Sivaramamurti sees here, though without proper evidence, a reference to the 'Rasa-citra' corresponding to the Izhaikkolam of South India drawn with a white paste 214 solution. We are not sure whether the figure of Sasthi- 215 devi and the Jata-matrka-patala, mentioned by Dhanapala in connection with the description of the lying-in chamber of Queen Madiravati, were of the nature of a Rangavall drawn on the ground; but it is certainly understandable that the mystic line drawn with E charmed ashes for the protection of the bed of the new-born child and the mother was a sort of simple drawing consisting of scattering the ashes in a continuous line around the bed. 216 Threshold was the principal place for the Rangavali both in the case of domestic houses and temples. There is 212. Art Notes From Dhanapala鈥檚 Tilakamanjari,p.202. 213. Tilakamanjari,p.77 (6拢拢) - kuruta haricanda nopalepa hari mandirana da, -1; 372(23ff.) racayata sthanasthavissu ratna curnasvastikan vilikha prasasta lalitanitastatah ksiroda maulika ksodaih svastikan ...| 214. Art Notes From Dhanapala鈥檚 Tilakamanjari,p.204. 215. Tilakamanjari,p.77(9ff.)Raverty鈥檚 Translation of the Tabaqat-i-Nasiri (Bibliotheca Indies) GOTTE aharata sasthidebim , alikhata jatamatr sahomantri tam raksa 216. ibid., p.77(11) -- forty 512199221 paryantesu sayanastha 42785 --- vidyuta bhutirekham . -1

217 537 a reference to drawing such Svastika designs in front of 217 the house, i.e. just outside the main door. Similarly, the threshold of the temple of Cupid at Kanci was adorned with different patterns of creepers all drawn in immumers 218... ble tints. However, Shri C.Sivaramamurti is rather mistaken in understanding the term 'Balikarma' in the sense of "beautifying the floor of the temple or the place of 219 worship"; it rather indicates that along with other offerings like rice-heap, a pitcher full of cane-sugar juice, and etc., such drawings of designs on the threshold were themselves considered to be sacred offering, and also a fit place for other offerings. That is why while invoking the help of some unknown spiritual entity for carrying the message back to Harivahana, Prince Kamalagupta had the threshold specially purified by besmearing it with cow-dung and fragrant flowers were scattered over it, before the precious jewelled pedestal was put over it for placing on it 220. the letter to be carried away by the divine agency. Not 219. Art Notes From Dhanapala鈥檚 Tilakamanjari, p.203. 228. Tilakamanjari, p.194 (7)- ksitipalasunoh pratilekha svayamevalikhat | mahai- manipitha pratisthapitam catam nivesya pratyagra gobhayo pa lepana sucau surabhi kusuma prakara bhaji pranbhavitardi ko tsako 2219. ibid., p.360(6ff.) 217. (P.T.0). 104 218. (P.T.0.) 2220.ef.ibid., p.18(23) ; 247(11) (RIG)

538 only the thresholds, but even the wide platforms between the pillars of the swing-couch in the courtyard of a temple was also purified by plastering it with cow-dung or sandal-paste, and over the drawing of Svastika design on it, multicoloured flowers were arranged for heightening 221 the beauty.