13. Description of Art criticism

Dhanapala has at times made a few passing remarks which reveal the norms and progress in the field of art 298 appreciation. Shri C. Sivaramamurti has taken notice of some of them concerning the art of painting and concluded that art criticism seems to have been a special subject with the city elites (nagaraka), as is evidenced from the references in the Tilakamanjari of Dhanapala in the observations on art and occasional discussions on pictures and other subjects. The details about the discussion of the picture of Tilakamanjari are very interesting. Prince Harivahana passed, with the professional teachers and other citizens well-versed in the art of painting, half of his day in appreciating the extraordinary aesthetic charm of the pic- 299. ture. In a reply to the inquiry of Gandharvaka whether the picture was on the whole pleasing to the look at and 298. Art Notes From Dhanapala’s Tilakamanjari,pp.207-208. 299. PM (N), p.177 (1481.) citravidyopadhyayai inyai sva janaparampara janita- kutuhalai citramavalokayitu magale ra lekhya sastravi dvi nagaralo kaih saha vicara - yannavicartha carutva tattvam tasyacitra para putrikayah rupa mayasarita para vinodah 472211574899141: 29417919fanta: purvana manayan | +

554 whether there was any obvious blemish to be prominently 300 marked out in the picture, Prince Harivahana at first appreciates the various commendable aspects of the picture and pints out a single blemish in it. The points of apprecation are: (i) the picture revealed the painter's natural facility in weilding his brush with dexterity finished by hereditary_practice of the art; 301 (ii) the delineation of numerous trees like Campaka, Asoka, Tilaka, Tali, Tamala, etc., on the bank, and the multitude of lotus plants with blossomed golden lotuses easily indicated the heavenliness of the lake drawn as situated on the extensive top of a 302 mountain; (iii) the bowers of Lavali creepers, the thicket of Puga, the pavements of the pavilion of Nagavalli leaves on the bank were also beautifully drawn; 303 (iv) the extremely beautiful princess with deep navel and accompanied by her companions was depicted as moving on the bank in the sand which was depicted gem-like without much effort, 300. ibid., p.165 (20ff.) - avanipalatanayam papraccha kinciddarsana yo gyamamtra pratibhati | kumara asti citrapate rupam | udbhutarupah ko'pi doso va natimatra 301. ibid.,p.166 (3) svabhavamadhura janmantara yata bhyasadu pagata tavaisa citragatih | -- alyame va te sadupadesा gurujanah | 302. ibid.,p.166(6) ... divyamiti bali saipi vyajyamana mucitena kramena parinahini ksonidhara sikhara prstha pratisthapi tamapara parisara sarah +1 303. ibid.,p.166 (9) : imanyati sundarani - tiradesedasya darsanani|

555 304 and the colour combinations were properly utilized; (v) the depth and the height and the presentation of relief, or chiaroscuro, were well brought out with the technique of light and shade of the day-light; (vi) the pairs of birds, flying or about to fly, and animals, agitated with fear generated by the advance-guard of the servants, 306 looked life-like; (vii) the beautifully dressed courtezans, ever ready to serve, were located in proper places 307 and were shown as engaged in their respective tasks; (viii) the maid carrying the white parasol was drawn as following the princess closely step by step and another maid flourishing a golden staff and warding off the swans, shown as obstructing the path while being attracted by the jingling of her anklets, was drawn as approaching her mistress hastily and handing over a Tambula in her 308 raised hand; thus, every single detail contributed to the beauty of the picture. 309 The prince, then, pointed out to 304. Tilakamanjari, p.166 (9ff.) -- niryanacaruni ratnavaluka sakate -- yathocita- bhavasthapita varna samudaya ..1 305. ibid.,p. 166 (11) - dinakara prabhava prakasitavyaktanimno mrta vibhaga --- 1 306. ibid., p.166 (14ff.) - uddiyamananyunkhimani ca satsicetananiva prakasitani paksimrga mithunani 307. ibid.,p.166(16ff.)--zz ruciravesom varayosijjanah | 308. ibid., p.166(19ff.). 309. ibid.,p.166(22ff.) citra para stha calataprakarsa hetuh | ayuna Life in 5447:47: - yadyadavalokyate tattatsarvamapi rupamasya

556 a single flaw that the picture was too full of women figures as not a single male figure was drawn; and he suggested that if a few handsome male figures be added as a part of her retinue it would serve the following three purposes: (i) it would enhance the charm of of the picture; (ii) it would fire the curiosity of the onldokers; and (iii) it would testify to the all-round skill of the artist himself. At that, the painter drew the attention of the prince to the purpose behind excluding the proposed improvements, viz., that the picture was intended to be the one depicting a young princess who shunned the presence of 312 males as such. He further pleaded that the absence of the suggested details should not be taken as a reflection on his artistic ability betraying meagre knowledge, inattetion while working at it, lack of proper sense of propriety, and insufficient practice, all of which conspired to make 313. a bad piece of work.' The art of painting demanded perfect 310. FM (N), p.166 (23ff.) -- eka evam doso yadatra purusarupayikamapi managasamagra sobho'yam na prakasitam | anena ca 311. ibid.,p.167 (1ff.) tada dhunapyasya sobha tisayama dhatu preाkajanastha ा kautukatirekamutpada yitu matmanasca sarvavastuvisaya citrakarmya kausala mavi - skartum yujyante katicidasyah narendduhituh prakrti sundarani purusarupani parivarata netum | 312. ibid., p.167(6ff.) 1774 eff: 27141044504141- yujyamte tasya sarddhame tatha caritamalikhati | maya tu bheda tatha | kim ' tu kasyadhi purusadvesinya stha drsta rupam vilasa cestitam ca prakatitam | ida cetyameva prakasyamanamupayanti bhavati nanyatha | 3 samanya kanyaya 313. ibid,p.167(10)- tenaparijnana manavadhana anucitajnatamanabhyasa catravisaye na mem sambhavacinumaiti mananahi|

557 poise and full concentration from the artist and agitated minds of enthusiasts cannot accomplish even a single piece properly. 314 In some of the remarks in the course of the descriptions of the Jain images, Dhanapala has touched the interpretational aspect of icinography by revealing the significance of a few symbols. Thus, the three white parasols indicated the absolute supremacy of the Tirthankaras over the three 315 worlds; the eyes with half-closed eyelids and steady pupils revealed the absence of passions and attainment of 316. absolute omniscience. The Bhadrapitha and the Samavasrtisala symbolized the ceremonial consecration of the Tirtha- 317. nkara on the top of the Meru mountain. The differencesin the size, colour and height of the images of the Tirthan- 318 karas had their respective significance. nirvartaniya citrama| 314. _TM(N),p•171 (11) utsukamanobhisca kartumarabdha atisthulamapi karmma nopajayate susutram | kim puna svinai skina citai kim puna citaikagratatisaya 315. ibid.,p.217(7ff.) ... indumandala sitatapa tratrayi prakasita tribhuvanaisviyam-- 1 316. ibid.,p.217 (411.) kicinnatapadmana caksusa bhavasya - 1 nirvikaratarakena pasu a 1; 217 (16) --nirnimesena kevalajnana caksusa saksatkrtasakala 317. cf. ibid.,p.226 (3ff.) samavasrtisala madhyavartti nariva virajamana - sarvapadinadipti patala plavita bhadrapitha tatha ksirodasalila ksalyamana meruprstha janmabhiseka lilamina darsayantih - yaksa 318. cf. ibid.,p.406(1ff.) -- ya svamaropita pramana varnotkarsabhih ... jinavr sanam manipratimabhih --- 1 ---

558 Flags of honour were awarded to the artists as a mark of recognition of excellence in fine arts. 319