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478
TILAKAMANJARI OF DHANAPĀLA
hours deliberating over the 'cărutātattva' of the picture painted on that canvas in company of the town folk well-versed in the art of painting (ālekhyaśāstra) with curiosity provoked in them by a series of men and in association with the teachers masters of the art of painting who stood hard by squatted on the precincts of the shores of the oblong tank in the shrine of Cupid. Even the murals or wall-paintings were in vogue.2
Tūlikā-a painting brush, Citraphalaka-a painting board, Citravalabhikā-a picture-gallery-are the technical terms pertaining to the art of painting.' Citrakāra and Citrakst are the terms used to mean a painter. Even Samaraketu had a fascination for this art in so far as he has been described as having spent his days in company of Tāraka (in Kāñcī) looking constantly at the excellent forms of the princesses of renowned forms, brought having been drawn by the skilled painters. Tilakamañjarī skilled in the art of painting sometimes had the painting brushes and the painting boxes (Vividhavartikā Samudgakā) by her sides brought by the attendantmaids, placed on a picture board, used to paint the excellent form of the illustrious one (Harivāhana) pierced by the groups of the arrows of Cupid, after having thought over time and agiain."
Varttiķā means a painting brush. Samudgakā, a painting box and Citraphalaka-a painting board or canvas etc. The picture of Tilakamañjari painted on the picture-canvas was shown to Harivāhana, the painting was painted by Citralekhā on the canvas. “Citraśālā' refers to an art-galley or a Painting-Hall having a smearing of sandal-coatings all over its frame.'
मकरध्वजायतनदीर्घिकातीरपरिसरे निषण्णः सन्निधानवर्तिभिश्चित्रविद्योपाध्यायैरन्यैश्च जनपरम्पराजनित कुतूलहैश्चित्रमवलोकयितुमागतैरालेख्यशास्त्रविद्भिः नगरलोकैः सह विचारयन्नविचार्य चारुतातत्वं
तस्याश्चित्रपटपुत्रिकायाः रूपमपसारितापरविनोदः पूर्वाह्वमनयत् TM. Vol. III pp 25-26. 2. नवचित्रभित्तीः। Ibid. vol. III p. 29. 3. आविष्कृतानेकभावविभ्रमाणि लिखितानीव केनापि निपुणचित्रकरेण दिभित्तिषु दिवानिशं ददर्श तस्याः प्रतिम्बानि.
जीवमिव चित्रकर्मखचितप्रदेशम्। Ibid. Sm. pp. 29,95. मत्समागमध्यानमीलिताक्षः पुरः स्थापिते वृथैव तूलिकया चित्रफलके रूपमलिखत् Ibid. Sm. ed. pp. 278-279
and 302. 4. तत्र च त्वदुपलम्भाशया दिङ्मुखख्यातरूपसंपदा राजकन्यानां विद्धरूपाण्यादरप्रवर्तितैश्चित्रकृद्भिरभिलिख्योपनीतान्य
जस्रमवलोकयतः.... सवन्ती पुलिनेषु द्विधापि संचारिततारकस्य मे गताः कतिपयेऽपि दिवसाः Ibid. Sm. ed. p.
322.
5. कदाचिदन्तिकन्यस्तविविधवर्तिकासमुद्गकाप्रगुणीकृत्य परिचारिकाभिः पुरोऽवस्थापिते पृथुने चित्रफलके
निपुणमालोच्यालोच्य मकरकेतुबाणदाताविद्धदेवस्यैव रूपं विद्धमभिलिखन्ती। Ibid Sm. ed. p. 363. 6. कथं दर्शितास्य चित्रपटे मत्प्रतिकृतिः Ibid. Sm.ed. p. 391. 7. चित्राशालास्वसंपाद्यमानहरिचन्दन पंकोपलेपम्। Ibid. Vol. I p. 118.
