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330
Lord Mahavira and His Times
scenes from heavenly life, mythical beliefs and Naturc are: found mentioned.
The Samyukta Nikāya refers to a method of preparing pigments, and the Chullavagga refers to a kind of plaster on which colours were to be painted. In the Chullavagga?, Buddha. is further said to have instructed his disciples on the rules of building and painting on their walls. In some Jaina literary works, the painters are mentioned along with brushes and colours ; first they divided the wall surface and then prepared the surface. There were painters who were adepts in their profession. One painter is mentioned who could portray the complete figure of bipeds (duvaya), quadrupeds (Chauppaga) and objects without feet (Apaya). even if he saw a part of their body. Pictures were drawn on walls as well as on panels.
Portrait-painting was very much in vogue. According. to the Vinaya Pițaka, Āmrapali invited painters from various countries and asked them to paint on her walls the figures of kings, traders and merchants seen by them; and it was by seeing the portrait of Bimbisāra so painted that she fell in love with him. We are told that a Parivvãiya painted the portrait of the princess Sujetthā on a board and showed it to king Seniya who fell in love with her. Similarly, prince Sagarachanda became enamoured of Kamalamālā when her portrait was shown to him.
The patronage given to painting by kings and wealthy persons during this period is clear from the mention of picture-galleries. The Vinaya Pițaka also makcs several references to the pleasure-houses of king Prasenajit, containing Chillāgāras or picturc-halls or gallcrics. One such picturegallery was built by a bankcr of Rājagiha in the forest adjoining the city which was decorated with wooden (kaffhakamma), earthen (Pollakamma) and plaster decoration (Leppa), wrcaths (ganthima), images (Vadhima), and dolls (purimay which were stuffed and made of cloth (Sangh:iim). We are
1. Cris, VI.3. 11. 2. My A, p. 106 (; Urrará 31. . 3. Yaya, 13. p. 14.
