10. Description of Personal decorations

Among the designs utilized for personal decoration, Dhanapala has mentioned Pattranguli [Patranguli], Tilaka, Visesaka, Pattraccheda [Patraccheda], and Pattravali [Patravali].Of these, the details of each one are very interesting. The Pattranguli seems to have consisted of various types of curved lines, or dots, arranged in curved lines, forming leaf-motifs drawn on the surface of the breasts and the cheeks of women, with a paste of fragrant substances such as, sandal, saffron, camphor, musk and etc. 222 Pandit Radhakantadeva is not sure when he gives two alternative explanations of this term. ' However, Dhanapala's description 221. Tilakamanjari, p. 360 (6ff.) nyasta puspasta bakasabala m do lastambha yadi kam .... 222. cf. ibid., p.18 ( 23 ) --- ikalpayala 223. tatksano palipta mitastato racitarucira svastika mavirala- ayatana mandapa sala hana sagini mu vipulabhindanila- kamini kumbhabhittisvaneka bhadda, kutilah - 1; 247(11)--- kapola yugalena - - patrasuli dvahantim .. 223. Sabda-kalpadruma, Vol. III, p. 29, 001.1: patrangulih - patra mangulikhi anna| yadva angulibhilikhitam racitam patram patrakrtiratra na patrabhah | sanakapoladau kasturika di racita patravali ityamarah || radha 122 - patraili kuradamada-

539 is confirmed by Pandit Vishnudatta, the author of the Namacandrika commentary on the Amarakosa, who explains this term as denoting a type of Tilaka drawn with saffron, black Aguru and other fragrant substances, On breasts, cheeks 224 and etc.. Tilaka and Visesaka seem to denote the auspicious tiny round or vertical mark put on the forehead between 225 the eyebrows. This also is supported by Pandit Vishnudatta. 226 About Pattraccheda, Dhanapala has not given a definite idea except that it was one of the fine arts which could entertain the refined persons and that it was of 227. many kinds such as Dravida and etc.. Bhagavatsimhji, the author of the Bhagavadgomandala, has noticed this term as the name of one of the sixty-four arts to be learnt for 228 the perfect fulfilment of the Kama Prusartha. But 224. cf. Nam,Can on Amarakosha, II, vi, 122 : patralekha ||89|| patran gulih || (2) || same striyam 11 dve stanaka poladi ke saradina racitasya tilaka visesa sya || ; Tilakamanjari, p. 161 (3ff.) utkalita kala- gurutilaka sobham " | 22211 226. cf. ibid, on Amarakosha, II, vi, 123 : tamalapatra --- tilako citraka catvari- lalata krtasya tilaksyu || visesako 225. Tilakamanjari, p. 289 (4££). rajakanyanamalika lekhasu tilakanakarsit | ahamapi svahastaracitavisesaka adaya vadanavalokana vyajena manidarpanam -- 1 227. TH(N),P,363(13ff.) dravidadisu pancaccheda bhedenvanyesu cam vidadha- jana vinoda yogyesu vastuvijnanesu --- 1 228. Bhagavad-gomandala , Vol.VI, p.5294, Col.2.

540 Vatsyayana, the author of the Kamasutra lists, not 'P 'Pattraccheda', but 'Pattracchedya' or 'Vise sakacchedya' which, according to Yasodhara, the author of the Jayamangala commentary, indicate the same art, and is explained by him as a sort of a Tilaka consisting of trimming of leaves of trees like birch etc., in different shapes and fi- 229 Shrinivasachagures, and to be applied to the forehead.rya, the author of a commentary on the Mrcchakatika explains the term Pattracchedya as referring to a type of picture in which artistically cut tiny pieces of fine leaf-thin sheets of wood or metal were utilized for enhancing the 230 effect of variety. This art seems to be very old as it is mentioned in various texts of the Jain Canon, such as Samavayasutta and Ayarangasutta. 231, Shridhara, the commentator of Srimad-bhagavata seems to differentiate Pattracchedya [Patracchedya ] from Vise sakacchedya, which he explains as the art of tattooing or making of spots, lines or figures on the person by puncturing and staining. 232 The term 'Pattraccheda' 229. cf. Jayamangala on Kamasutra of Vatsyayana I,iii,16,p.30: 9214 yo llare diyate, tasya bhurjadi patramaya sthaneka prakara chedanameva cchedha m patracchedhamiti vaktavyam | 230. cf. Karmarkar's Notes on Mricchakatika of Shudraka,V,5,p.428: Sat- sthimiti pacacchedha patrakaranam lohada diphalakanam bahuvidhakara karta ne na vikhyadyamanam citram patra cche chami tyucyate | 231. The Kalas,p.16. 232. ibid., p.33.

541 might be synonymous with 'Pattrabhanga' [Patrabhanga] which, according 233 to Shri Atrideva Vidyalankara, refers to a practice in which leaves of some trees were cut in artistic designs and were fixed on to the forehead to serve as a Tilaka mark. 234 235 Rationaaa Elephants for royal procession were also decorated by painting their bodies. Thus, Prince Harivahana's royal elephant mamed Amaravallabha was besmeared all over the body with the paste of white powder, and its bread temples and head were painted red with vermilion. Similarly, the principal royal war-elephant (pradhana-jayakarin) of the Vidyadhara Emperor Harivahana was also painted white with sandal paste shining with tinges of powdered camphor particles (63206 and its temples as well as the head were painted red with powdered red chalk. 237