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KUVALAYAMĀLA
offerings on the cross roads, beginning dramatic performances, hoisting of the lion banners (simghavadae), installing canopies (camdoyave), cloth pieces were being torn in proper pieces pālī for being wrapped round the post, pendants like the Kațisūtra ornaments were hung from the ceilings of doorways and walls of the houses, the great jewels were being taken out and put on show in the treasury, the pearls-strings were hung as festoons, so also were hung the flowerpendants. In the Asthānamandapa was placed a big royal throne which was occupied by prince regent Kuvalayacandra and decked with golden pitchers studded with many kinds of jewels and covered with golden lotuses (kaņayapaima-ppihāņāim).
Page 201.26: There is a reference to Kanakasilā engraved with the docrines of a Dharma which was offered to the king by the Kuladevatā of the Ikšvākus.
Page 203.20 f.: There is a detailed description of about 60 doctrines of different religious sects and schools of philosophy that had developed before the time of Uddyotanasūri, for example, Agnihotra, Gomedha, Bhrgupatana, Guggula-jvalana, a Pāśupata sect, Pamdara Bhikkhu, an Ajīvaka sect (also mentioned in the Pañcatantra), abstaining from all kinds of dairy products like milk, curds and clarified butter, Sāmkhya who believed in the twentyfive categories including Isvara known as Pañcavimšati Sāmkya in the Lingapurāņa and Matsyapurāņa, Leśyādharma (blue, yellow and white), living on wild fruits and putting on bark garments like the Rsis of old. This list of different sects of Uddyotanasūri's may be compared with the lists given by Bāņa in the Harşacarita (Books 5, 8).
Page 217.11: Here is a reference to the city of Kākandī which was a pair word with Mākandī.
Page 233,7: There is a mention of a young painter bringin painting on which was depicted the portrait of the daughter of the king of Ujjayinī (pațțe lihiyā citta-puttaliyā). The painting was marked with the purity of lines, richness of colours, according to different compositions, beautiful stripling or seedling to show the effect of surroundings or high and low surfaces and right measurements and representation of different lines of painting like sādrs'ya. In the Citrasūtra, rekhā, varņa, vartanā and bhūşaņa are mentioned as four qualities of a good painting (rekhām prasaṁsānty ācāryā vartanām ca vicaksanāh/striyo bhūşanam icchanti varņādhyam itare janāḥ//). A motif of a princess of a Citrapata was popular in inedieval literature and also found in the Tilakamañjarī.
Page 247.27 f.: Uddyotanasūri has introduced the Mahāmāmsa motif and created an atmosphere of the Kāpālika Dharma. That was an age in was predominant from Bengal to Rajasthan as also painted in the works of Bhavabhūti. Uddyotanasūri gives his comments from the Jaina point of view that the Vetāla and Piśāca as Vyantara classes of Devas did not eat flesh and blood but enjoyed it like playful children. This can hardly be said to be satisfactory, and it would liave been better if the author had refrained from depicting such hedious picture in his story at all.
Page 249.19: There is a reference to mineral colours used in painting and made from the powder of stones of different colours. Such mineral colours
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